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"content": "\u003cp>\u003cem>Chinksugi\u003c/em> is a life-size figure made of ceramic, wood, resin, and paint — the title is a play on \u003cem>kintsugi\u003c/em>, the Japanese practice of fixing broken pottery. This technique uses lacquer mixed with gold or silver dust to highlight cracks and embrace the flaws of the piece rather than conceal them. From head to toe, \u003cem>Chinksugi\u003c/em> boasts stereotypical Asian motifs: a Japanese cherry blossom on one of the ankles, a china plate design across the chest.\u003c/p>\n\u003cp>“This work,” says artist Nicholas Oh, “is about how Asian Americans are perceived and generally assumed to be foreigners. My work aims to fight some of these generalizations by embracing stereotypes.”\u003c/p>\n\u003cp>The work Oh refers to was specifically made for \u003cem>\u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">In-Between Places: Korean-American Artists in The Bay Area\u003c/a>\u003c/em>, an exhibition organized by Mills College Art Museum and independently curated by Linda Inson Choy, a contemporary Korean art specialist, with consultation from Hyonjeong Kim Han, associate curator of Korean art at San Francisco’s Asian Art Museum.\u003c/p>\n\u003cfigure id=\"attachment_13815886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg\" alt=\"Jung Ran Bae, 'The Days Like Feathers,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jung Ran Bae, ‘The Days Like Feathers,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are times when someone looks at me and makes a preconceived judgement that I am a foreigner from Asia,” Oh says. “However, in reality, I actually identify with American culture more than my ancestral Korean culture, putting me somewhere in between.”\u003c/p>\n\u003cp>The Bay Area has long been a hub for Korean culture, but the reality of being a Korean-American person means reconciling with the nuances of an ambiguous identity. \u003cem>In-Between Places\u003c/em> — the first exhibition to decidedly acknowledge that Korean-American art is Korean art — showcases a wide variety of media (sculpture, painting, ceramics, video, textiles, performance and installation art) from Bay Area Korean-Americans responding to and reflecting on the multiplicity of their identities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.minjisohn.com/\" target=\"_blank\" rel=\"noopener\">Minji Sohn\u003c/a>, the artist behind \u003cem>Turn Right, Turn Left\u003c/em>, a four-channel video installation that asks visitors to stand on a platform and follow screen prompts, says, “All my life I flew between continents every few months or so, living in-between countries and cultures. This nomad-like experience and in-between-ness have played a major role in shaping my character. It is also a subject of many of my recent investigations and performances.”\u003c/p>\n\u003cfigure id=\"attachment_13815889\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg\" alt=\"Minji Sohn, Installation view of 'Turn Right, Turn Left,' 2017.\" width=\"1200\" height=\"785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-520x340.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Minji Sohn, Installation view of ‘Turn Right, Turn Left,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her installation takes stock of and questions the act of categorization by continuously volleying between two options: “turn left” and “turn right.” Sohn chooses a familiar voice of authority that is often met with steady compliance. For the artist, \u003cem>Turn Right, Turn Left\u003c/em> is a manifesto proclaiming, “Let us not be limited by meaningless, quantifiable labels of age, sex and race or use them as excuses; or let us use those labels to empower and inspire us.” It’s a fitting sentiment not just for Sohn’s work, but for the exhibition as a whole.\u003c/p>\n\u003cp>\u003cem>In-Between Places\u003c/em> features artists at various stages of self-actualization — both in respect to their artistic practice and in coming to terms with their heterogeneous identities. Their ages range from their 20s to their 70s.\u003c/p>\n\u003cp>Artist \u003ca href=\"http://www.kaykangart.com/\" target=\"_blank\" rel=\"noopener\">Kay Kang\u003c/a> falls somewhere in the middle of those extremes. Her \u003cem>beosun\u003c/em> (or socks) made with cast plaster and recycled linen represent a longing for family, decades after she immigrated to the United States. In her piece \u003cem>From East to West\u003c/em>, visitors are met with a seemingly haphazard pile of delicate white socks. “For these \u003cem>beosun\u003c/em>,” she says, “I recycled Korean bed linens, or \u003cem>ramie\u003c/em>, which my family used during hot and humid Korean summer days.”\u003c/p>\n\u003cfigure id=\"attachment_13815888\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg\" alt=\"Kay Kang, Installation view of 'From East to West,' and 'My Journey/Bahljhachwee,' 2017.\" width=\"1200\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-520x319.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kay Kang, Installation view of ‘From East to West,’ and ‘My Journey/Bahljhachwee,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work,” she says, “is a series of footsteps representing every significant step in my journey over the 46 years since immigrating to the United States — a journey filled with myriad hopes, joys, sorrows, fears, and expectations.” Kang adds that the \u003cem>beosun\u003c/em> describe a life journey, and the evolution of women’s roles over the course of that journey.\u003c/p>\n\u003cp>\u003ci>From East to West\u003c/i> captures Kang’s sentimental relationship with Korea. It’s a place she left long ago, but a place that continues to influence the makeup of her identity.\u003c/p>\n\u003cp>The inclusion of multiple generations of Korean-American artists only further illuminates the fact that a case of ambiguous identity isn’t one that’s necessarily cracked in the time it takes to read a Nancy Drew mystery. It’s a condition that requires diligence, time, constant scrutiny of the status quo, and a supportive community. \u003ci>In-Between Places\u003c/i> is a snapshot of a critical juncture in the ongoing journeys of eight very different local Korean-American artists, creating a temporary community that can serve as a buoy throughout the duration of this often introspective and isolating process.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In-Between Places: Korean-American Artists in The Bay Area’ is on view at Oakland’s Mills College Art Museum through Dec. 10, 2017. For more information, \u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Chinksugi\u003c/em> is a life-size figure made of ceramic, wood, resin, and paint — the title is a play on \u003cem>kintsugi\u003c/em>, the Japanese practice of fixing broken pottery. This technique uses lacquer mixed with gold or silver dust to highlight cracks and embrace the flaws of the piece rather than conceal them. From head to toe, \u003cem>Chinksugi\u003c/em> boasts stereotypical Asian motifs: a Japanese cherry blossom on one of the ankles, a china plate design across the chest.\u003c/p>\n\u003cp>“This work,” says artist Nicholas Oh, “is about how Asian Americans are perceived and generally assumed to be foreigners. My work aims to fight some of these generalizations by embracing stereotypes.”\u003c/p>\n\u003cp>The work Oh refers to was specifically made for \u003cem>\u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">In-Between Places: Korean-American Artists in The Bay Area\u003c/a>\u003c/em>, an exhibition organized by Mills College Art Museum and independently curated by Linda Inson Choy, a contemporary Korean art specialist, with consultation from Hyonjeong Kim Han, associate curator of Korean art at San Francisco’s Asian Art Museum.\u003c/p>\n\u003cfigure id=\"attachment_13815886\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815886\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg\" alt=\"Jung Ran Bae, 'The Days Like Feathers,' 2017.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/2-Jung-Ran-Bae-Days-Like-Feathers_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jung Ran Bae, ‘The Days Like Feathers,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are times when someone looks at me and makes a preconceived judgement that I am a foreigner from Asia,” Oh says. “However, in reality, I actually identify with American culture more than my ancestral Korean culture, putting me somewhere in between.”\u003c/p>\n\u003cp>The Bay Area has long been a hub for Korean culture, but the reality of being a Korean-American person means reconciling with the nuances of an ambiguous identity. \u003cem>In-Between Places\u003c/em> — the first exhibition to decidedly acknowledge that Korean-American art is Korean art — showcases a wide variety of media (sculpture, painting, ceramics, video, textiles, performance and installation art) from Bay Area Korean-Americans responding to and reflecting on the multiplicity of their identities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.minjisohn.com/\" target=\"_blank\" rel=\"noopener\">Minji Sohn\u003c/a>, the artist behind \u003cem>Turn Right, Turn Left\u003c/em>, a four-channel video installation that asks visitors to stand on a platform and follow screen prompts, says, “All my life I flew between continents every few months or so, living in-between countries and cultures. This nomad-like experience and in-between-ness have played a major role in shaping my character. It is also a subject of many of my recent investigations and performances.”\u003c/p>\n\u003cfigure id=\"attachment_13815889\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815889\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg\" alt=\"Minji Sohn, Installation view of 'Turn Right, Turn Left,' 2017.\" width=\"1200\" height=\"785\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1020x667.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-1180x772.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-960x628.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/7-Minji-Sohn-Turn-Right-Turn-Left_1200-520x340.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Minji Sohn, Installation view of ‘Turn Right, Turn Left,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her installation takes stock of and questions the act of categorization by continuously volleying between two options: “turn left” and “turn right.” Sohn chooses a familiar voice of authority that is often met with steady compliance. For the artist, \u003cem>Turn Right, Turn Left\u003c/em> is a manifesto proclaiming, “Let us not be limited by meaningless, quantifiable labels of age, sex and race or use them as excuses; or let us use those labels to empower and inspire us.” It’s a fitting sentiment not just for Sohn’s work, but for the exhibition as a whole.\u003c/p>\n\u003cp>\u003cem>In-Between Places\u003c/em> features artists at various stages of self-actualization — both in respect to their artistic practice and in coming to terms with their heterogeneous identities. Their ages range from their 20s to their 70s.\u003c/p>\n\u003cp>Artist \u003ca href=\"http://www.kaykangart.com/\" target=\"_blank\" rel=\"noopener\">Kay Kang\u003c/a> falls somewhere in the middle of those extremes. Her \u003cem>beosun\u003c/em> (or socks) made with cast plaster and recycled linen represent a longing for family, decades after she immigrated to the United States. In her piece \u003cem>From East to West\u003c/em>, visitors are met with a seemingly haphazard pile of delicate white socks. “For these \u003cem>beosun\u003c/em>,” she says, “I recycled Korean bed linens, or \u003cem>ramie\u003c/em>, which my family used during hot and humid Korean summer days.”\u003c/p>\n\u003cfigure id=\"attachment_13815888\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg\" alt=\"Kay Kang, Installation view of 'From East to West,' and 'My Journey/Bahljhachwee,' 2017.\" width=\"1200\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-768x471.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-1180x724.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-960x589.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-240x147.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-375x230.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/6-Kay-Kan-My-Journey_1200-520x319.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kay Kang, Installation view of ‘From East to West,’ and ‘My Journey/Bahljhachwee,’ 2017. \u003ccite>(Photo: Phil Bond Photography; Courtesy Mills College Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My work,” she says, “is a series of footsteps representing every significant step in my journey over the 46 years since immigrating to the United States — a journey filled with myriad hopes, joys, sorrows, fears, and expectations.” Kang adds that the \u003cem>beosun\u003c/em> describe a life journey, and the evolution of women’s roles over the course of that journey.\u003c/p>\n\u003cp>\u003ci>From East to West\u003c/i> captures Kang’s sentimental relationship with Korea. It’s a place she left long ago, but a place that continues to influence the makeup of her identity.\u003c/p>\n\u003cp>The inclusion of multiple generations of Korean-American artists only further illuminates the fact that a case of ambiguous identity isn’t one that’s necessarily cracked in the time it takes to read a Nancy Drew mystery. It’s a condition that requires diligence, time, constant scrutiny of the status quo, and a supportive community. \u003ci>In-Between Places\u003c/i> is a snapshot of a critical juncture in the ongoing journeys of eight very different local Korean-American artists, creating a temporary community that can serve as a buoy throughout the duration of this often introspective and isolating process.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘In-Between Places: Korean-American Artists in The Bay Area’ is on view at Oakland’s Mills College Art Museum through Dec. 10, 2017. For more information, \u003ca href=\"https://mcam.mills.edu/exhibitions/current1.php\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead at 96",
"headTitle": "Jon Hendricks, Genre-Pushing Jazz Vocalist, Dead at 96 | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/17931003/jon-hendricks\" target=\"_blank\" rel=\"noopener\">Jon Hendricks\u003c/a>, the singer and songwriter who \u003cem>Time\u003c/em> Magazine called the “James Joyce of jive,” died today in New York at the age of 96. Hendricks was best known for his work in the pioneering vocal jazz trio Lambert, Hendricks and Ross. His death was confirmed by fellow singer and composer Kurt Elling and Hendricks’ publicist, Don Lucoff.\u003c/p>\n\u003cp>First and foremost, he was a storyteller: funny, dexterous with language and erudite. Jon Hendricks could reference practically anything in his lyrics – from the controversy over Shakespeare’s identity to the Spanish Civil War – and make them swing.\u003c/p>\n\u003cp>Still, he’ll be remembered best for his mini-oral histories of the jazz world — like his lyrics for Count Basie’s 1930’s classic “Jumpin’ at the Woodside.”\u003c/p>\n\u003cp>“The Woodside is a hotel on 125th [St.] and 8th Avenue,” Hendricks \u003ca href=\"http://www.npr.org/2011/09/16/140532273/john-hendricks-the-father-of-vocalese-at-90\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> in 2011. “Everybody stayed there because you didn’t have to go to bed at nine or 10. You could have jam session at 3 a.m. Old vaudevillians and musicians ran the hotel, the man and his wife. And so I told that story.”\u003c/p>\n\u003cp>Like his idol, the poet Paul Lawrence Dunbar, Hendricks penned folk poetry. Only he chose his words to mimic the sounds of instruments, fitting texts not just to melodies, but the most technically demanding jazz solos.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Who would think to do a lyric for the John Coltrane, for any John Coltrane solo? That’s highly complex music,” said the late singer Al Jarreau, talking to NPR \u003ca href=\"http://www.npr.org/sections/ablogsupreme/2011/09/16/140533374/voices-al-jarreau-on-jon-hendricks\" target=\"_blank\" rel=\"noopener\">in 2011\u003c/a>. Jarreau sang with Hendricks on his 1990 album \u003cem>Freddie Freeloader\u003c/em>.\u003c/p>\n\u003cp>“Similarly, there’s very highly complex music in the Basie book, very highly complex music in the Miles [Davis] book,” Jarreau continued. “And to have the idea that yes, I can write a lyric for this stuff that makes sense and I’ll even sing the solos, the great classic solos — just wild.”\u003c/p>\n\u003cp>Jon Carl Hendricks was born in Newark, Ohio in 1921, the son of a minister and one of 14 children.\u003c/p>\n\u003cp>“I was always precocious about English language and the King James Bible especially,” Hendricks told NPR, “because my job in my family was to assist my father and look up in the King James whatever he wanted to use as a text for his sermon that Sunday.”\u003c/p>\n\u003cp>As a youngster, Hendricks performed with piano virtuoso Art Tatum. He studied law on the G.I. Bill after World War II, but abandoned jurisprudence for jazz at the suggestion of legend Charlie Parker. He moved to New York City and supported himself ghostwriting lyrics for Tin Pan Alley, until he found a kindred spirit.\u003c/p>\n\u003cp>“Dave Lambert and I were looking for something to do before we died. Before we starved death!” Hendricks recalled. “That’s literally true. Dave said, ‘We both like Basie. Why don’t you write lyrics to four Basie tunes and we’ll take them uptown and sell them as an album?'”\u003c/p>\n\u003cp>They did. \u003cem>Sing a Song of Basie\u003c/em> became a hit in 1957. And, with the addition of singer Annie Ross, the trio Lambert, Hendricks, and Ross was voted the most popular vocal group in the world for the next five years by readers of \u003cem>Melody Maker\u003c/em> Magazine.\u003c/p>\n\u003cp>After they split up in 1962, Hendricks turned up in some unlikely places: as the lyricist for the No. 1 hit \u003ca href=\"https://www.youtube.com/watch?v=jf-cCL3TOCo\">“Yeh Yeh”\u003c/a> by British R&B singer Georgie Fame and singing about race riots with a fledgling rock band called The Warlocks — soon rechristened the Grateful Dead.\u003c/p>\n\u003cp>Hendricks worked as a music critic, taught college and wrote for the theater, singing with family groups that sometimes included young talents—among them singer Bobby McFerrin. In 1985, Hendricks collaborated with The Manhattan Transfer on their album \u003cem>Vocalese\u003c/em>, for which they won seven Grammy Awards.\u003c/p>\n\u003cp>Jon Hendricks was a professor of Jazz at the University of Toledo, where he previously studied law. An NEA Jazz Master, he served on the Kennedy Center Honors committee under three presidents.\u003c/p>\n\u003cp>A reunion with Annie Ross in 2000, during the revival of the swing style, introduced him to a new generation. He continued performing almost to the end of his life. But one thing Hendricks seldom did was sing other writer’s lyrics.\u003c/p>\n\u003cp>“Jon Hendricks always will be the greatest of jazz lyricists,” says Kurt Elling, in a statement on the news. “I can’t imagine him being surprised that his wife Judith thought of him as a mystical offspring of William Shakespeare.”\u003c/p>\n\u003cp>Asked why he wasn’t content to sing the words of other people, Hendricks would point to the discrimination against African-Americans in Tin Pan Alley. That, and one minor flaw he saw in the pop songs of the day: “Well, they weren’t deep enough for me. They didn’t go deep enough.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortunately, Jon Hendricks did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jon+Hendricks%2C+Genre-Pushing+Jazz+Vocalist%2C+Dead+At+96&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/17931003/jon-hendricks\" target=\"_blank\" rel=\"noopener\">Jon Hendricks\u003c/a>, the singer and songwriter who \u003cem>Time\u003c/em> Magazine called the “James Joyce of jive,” died today in New York at the age of 96. Hendricks was best known for his work in the pioneering vocal jazz trio Lambert, Hendricks and Ross. His death was confirmed by fellow singer and composer Kurt Elling and Hendricks’ publicist, Don Lucoff.\u003c/p>\n\u003cp>First and foremost, he was a storyteller: funny, dexterous with language and erudite. Jon Hendricks could reference practically anything in his lyrics – from the controversy over Shakespeare’s identity to the Spanish Civil War – and make them swing.\u003c/p>\n\u003cp>Still, he’ll be remembered best for his mini-oral histories of the jazz world — like his lyrics for Count Basie’s 1930’s classic “Jumpin’ at the Woodside.”\u003c/p>\n\u003cp>“The Woodside is a hotel on 125th [St.] and 8th Avenue,” Hendricks \u003ca href=\"http://www.npr.org/2011/09/16/140532273/john-hendricks-the-father-of-vocalese-at-90\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> in 2011. “Everybody stayed there because you didn’t have to go to bed at nine or 10. You could have jam session at 3 a.m. Old vaudevillians and musicians ran the hotel, the man and his wife. And so I told that story.”\u003c/p>\n\u003cp>Like his idol, the poet Paul Lawrence Dunbar, Hendricks penned folk poetry. Only he chose his words to mimic the sounds of instruments, fitting texts not just to melodies, but the most technically demanding jazz solos.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Who would think to do a lyric for the John Coltrane, for any John Coltrane solo? That’s highly complex music,” said the late singer Al Jarreau, talking to NPR \u003ca href=\"http://www.npr.org/sections/ablogsupreme/2011/09/16/140533374/voices-al-jarreau-on-jon-hendricks\" target=\"_blank\" rel=\"noopener\">in 2011\u003c/a>. Jarreau sang with Hendricks on his 1990 album \u003cem>Freddie Freeloader\u003c/em>.\u003c/p>\n\u003cp>“Similarly, there’s very highly complex music in the Basie book, very highly complex music in the Miles [Davis] book,” Jarreau continued. “And to have the idea that yes, I can write a lyric for this stuff that makes sense and I’ll even sing the solos, the great classic solos — just wild.”\u003c/p>\n\u003cp>Jon Carl Hendricks was born in Newark, Ohio in 1921, the son of a minister and one of 14 children.\u003c/p>\n\u003cp>“I was always precocious about English language and the King James Bible especially,” Hendricks told NPR, “because my job in my family was to assist my father and look up in the King James whatever he wanted to use as a text for his sermon that Sunday.”\u003c/p>\n\u003cp>As a youngster, Hendricks performed with piano virtuoso Art Tatum. He studied law on the G.I. Bill after World War II, but abandoned jurisprudence for jazz at the suggestion of legend Charlie Parker. He moved to New York City and supported himself ghostwriting lyrics for Tin Pan Alley, until he found a kindred spirit.\u003c/p>\n\u003cp>“Dave Lambert and I were looking for something to do before we died. Before we starved death!” Hendricks recalled. “That’s literally true. Dave said, ‘We both like Basie. Why don’t you write lyrics to four Basie tunes and we’ll take them uptown and sell them as an album?'”\u003c/p>\n\u003cp>They did. \u003cem>Sing a Song of Basie\u003c/em> became a hit in 1957. And, with the addition of singer Annie Ross, the trio Lambert, Hendricks, and Ross was voted the most popular vocal group in the world for the next five years by readers of \u003cem>Melody Maker\u003c/em> Magazine.\u003c/p>\n\u003cp>After they split up in 1962, Hendricks turned up in some unlikely places: as the lyricist for the No. 1 hit \u003ca href=\"https://www.youtube.com/watch?v=jf-cCL3TOCo\">“Yeh Yeh”\u003c/a> by British R&B singer Georgie Fame and singing about race riots with a fledgling rock band called The Warlocks — soon rechristened the Grateful Dead.\u003c/p>\n\u003cp>Hendricks worked as a music critic, taught college and wrote for the theater, singing with family groups that sometimes included young talents—among them singer Bobby McFerrin. In 1985, Hendricks collaborated with The Manhattan Transfer on their album \u003cem>Vocalese\u003c/em>, for which they won seven Grammy Awards.\u003c/p>\n\u003cp>Jon Hendricks was a professor of Jazz at the University of Toledo, where he previously studied law. An NEA Jazz Master, he served on the Kennedy Center Honors committee under three presidents.\u003c/p>\n\u003cp>A reunion with Annie Ross in 2000, during the revival of the swing style, introduced him to a new generation. He continued performing almost to the end of his life. But one thing Hendricks seldom did was sing other writer’s lyrics.\u003c/p>\n\u003cp>“Jon Hendricks always will be the greatest of jazz lyricists,” says Kurt Elling, in a statement on the news. “I can’t imagine him being surprised that his wife Judith thought of him as a mystical offspring of William Shakespeare.”\u003c/p>\n\u003cp>Asked why he wasn’t content to sing the words of other people, Hendricks would point to the discrimination against African-Americans in Tin Pan Alley. That, and one minor flaw he saw in the pop songs of the day: “Well, they weren’t deep enough for me. They didn’t go deep enough.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortunately, Jon Hendricks did. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jon+Hendricks%2C+Genre-Pushing+Jazz+Vocalist%2C+Dead+At+96&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "pop-songstress-from-north-bay-returns-for-fire-benefit-in-sonoma",
"title": "Pop Songstress from North Bay Returns for Fire Benefit in Sonoma",
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"headTitle": "Pop Songstress from North Bay Returns for Fire Benefit in Sonoma | KQED",
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"content": "\u003cp>Teens suffered the same traumas as their parents during the North Bay Fires. They too lost their homes, their possessions, the places they love the most, even if they hated life in a small town. Olivia O’Brien, the 17-year-old songstress, can relate. O’Brien lives in Los Angeles now, but she grew up in Napa, and she doesn’t have many fond memories of the city. She says she was bullied by other kids, but she was still heartbroken when she heard about the fire.\u003c/p>\n\u003cp>“The one thing I really loved was the scenery, the vineyards the hills,” she told me by phone after a recording session. “If I was feeling sad, I could just take a drive up into the hills, up on Partrick Road, and it would just always make me feel better. So when I heard about the fire, the most devastating thing for me was all that beautiful stuff had burned down.”\u003c/p>\n\u003cp>Gundlach Bundschu Winery President Jeff Bundschu has booked O’Brien for an all ages fire benefit concert at the winery’s Redwood Barn. The little 200-seat music hall should fill up fast.\u003ca href=\"http://www.gunbun.com/event/olivia-obrien-north-bay-fire-relief-benefit-concert/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Th0btDcWHqQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Teens suffered the same traumas as their parents during the North Bay Fires. They too lost their homes, their possessions, the places they love the most, even if they hated life in a small town. Olivia O’Brien, the 17-year-old songstress, can relate. O’Brien lives in Los Angeles now, but she grew up in Napa, and she doesn’t have many fond memories of the city. She says she was bullied by other kids, but she was still heartbroken when she heard about the fire.\u003c/p>\n\u003cp>“The one thing I really loved was the scenery, the vineyards the hills,” she told me by phone after a recording session. “If I was feeling sad, I could just take a drive up into the hills, up on Partrick Road, and it would just always make me feel better. So when I heard about the fire, the most devastating thing for me was all that beautiful stuff had burned down.”\u003c/p>\n\u003cp>Gundlach Bundschu Winery President Jeff Bundschu has booked O’Brien for an all ages fire benefit concert at the winery’s Redwood Barn. The little 200-seat music hall should fill up fast.\u003ca href=\"http://www.gunbun.com/event/olivia-obrien-north-bay-fire-relief-benefit-concert/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Th0btDcWHqQ'\n title='//www.youtube.com/embed/Th0btDcWHqQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67",
"headTitle": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67 | KQED",
"content": "\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wJYSu2OVCGM\u003c/p>\n\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NvgzNEPhYQA\u003c/p>\n\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIy1rOb8EYU\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\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/wJYSu2OVCGM'\n title='//www.youtube.com/embed/wJYSu2OVCGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\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/NvgzNEPhYQA'\n title='//www.youtube.com/embed/NvgzNEPhYQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zIy1rOb8EYU'\n title='//www.youtube.com/embed/zIy1rOb8EYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 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=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hundreds of victims of the Oct. 1 shooting in Las Vegas filed five lawsuits in Los Angeles Superior Court on Monday.\u003c/p>\n\u003cp>The largest of the suits names 450 plaintiffs. Among those being sued are MGM Resorts International, owner of the Mandalay Bay resort; Live Nation, organizer of the country music festival at which 58 people were killed; and the estate of Stephen Paddock, the shooter.\u003c/p>\n\u003cp>The victims claim negligence by both MGM and Live Nation. They accuse MGM of not having adequate security policies, not properly training staff, not properly surveilling the premises, and failing to respond quickly when security guard Jesus Campos was shot. The suit alleges that Paddock’s VIP status as a high-stakes gambler gave him access to a service elevator at the Mandalay Bay, which he used to stockpile weapons and ammunition in the days before the shooting.\u003c/p>\n\u003cp>In Live Nation’s case, the plaintiffs say the company failed to provide enough exits or properly train employees “in case of a foreseeable event, such as a terrorist attack or other emergency.”\u003c/p>\n\u003cp>The shooter’s estate is being sued for assault, battery and intentional infliction of emotional distress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The attorney heading the lawsuits, Muhammad Aziz, \u003ca href=\"https://www.reuters.com/article/us-lasvegas-shooting-lawsuit/hundreds-of-las-vegas-shooting-victims-file-lawsuits-in-california-court-idUSKBN1DK2OX\">told\u003c/a> Reuters that the cases were filed in California because most of the plaintiffs are from that state and received treatment there. He also noted that Live Nation is based in the state.\u003c/p>\n\u003cp>Last week, a different law firm filed 14 suits in Nevada court. In addition to MGM, Live Nation, and Paddock’s estate, these suits also name the manufacturers of the bump stock devices found in Paddock’s hotel suite. Attorneys for the plaintiffs argue that the shooting could have been stopped, and that the lawsuits are intended to prompt policy changes so it can’t happen again.\u003c/p>\n\u003cp>Similar to the California lawsuits, the suits filed in Nevada argue that MGM assisted Paddock in transporting his arsenal by giving him access to a service elevator not open to the public, and that the Mandalay Bay failed to adequately monitor the hotel premises, discover his weapons, have gunshot detection devices in hotel rooms, or have adequate procedures to handle an active shooter situation. The suit alleges that Live Nation failed to provide adequate exits or properly train staff to handle emergencies.\u003c/p>\n\u003cp>“The evidence we’ve seen thus far clearly indicates that the defendants were culpable in contributing to the 58 victims who lost their lives and the thousands more still suffering from severe injuries that will take years to overcome, if ever,” said attorney Antonio Romanucci in a press release. He is also lead counsel in lawsuits related to the 2016 shooting at Orlando’s Pulse nightclub.\u003c/p>\n\u003cp>Live Nation told NPR that it does not typically comment on ongoing litigation.\u003c/p>\n\u003cp>MGM wrote in a statement to NPR: “The incident that took place on October 1st was a terrible tragedy perpetrated by an evil man. These kinds of lawsuits are not unexpected and we intend to defend ourselves against them. That said, out of respect for the victims, we will give our response through the appropriate legal channels.”\u003c/p>\n\u003cp>It won’t be easy to prove the venues were negligent.\u003c/p>\n\u003cp>“One can’t blame the hotel for not predicting that this gunman would go up to their 32nd floor with an arsenal and break out the windows and start firing at people,” Tom Russell, a personal injury lawyer and law professor at the University of Denver \u003ca href=\"https://www.npr.org/2017/10/13/557520555/lawsuits-begin-after-las-vegas-massacre\">told\u003c/a> NPR’s Kirk Siegler. He said venues can also be victims, in the form of lost business or other harms.\u003c/p>\n\u003cp>As Kirk reported last month, victims sued the theater chain Cinemark after the 2012 Aurora, Colo., movie theater shooting. But the victims lost their suit, and were ordered to pay Cinemark’s legal fees. A legal expert also said that lawsuits against the gun industry tend to be unsuccessful.\u003c/p>\n\u003cp>“Laws like the Protection of Lawful Commerce in Arms Act passed as recently as 2005 broadly exempt the gun industry from any tort lawsuits when criminals use their products,” Kirk reported. “Meanwhile some victims, as in one motion already filed in Las Vegas, go after the gunman’s assets. But even if they win, there’s rarely enough money to go around.”\u003c/p>\n\u003cp>C. Chad Pinkerton, an attorney in the California suits, told the Associated Press that the shooting could have been avoided if officials had implemented safety recommendations and followed the weapons policies they had.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We know in this day and age that evil does happen, and we have to protect against that,” he told the AP. “This was the largest venue security failure in U.S. history.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Hundreds+Of+Victims+Of+Las+Vegas+Shooting+File+Lawsuits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of victims of the Oct. 1 shooting in Las Vegas filed five lawsuits in Los Angeles Superior Court on Monday.\u003c/p>\n\u003cp>The largest of the suits names 450 plaintiffs. Among those being sued are MGM Resorts International, owner of the Mandalay Bay resort; Live Nation, organizer of the country music festival at which 58 people were killed; and the estate of Stephen Paddock, the shooter.\u003c/p>\n\u003cp>The victims claim negligence by both MGM and Live Nation. They accuse MGM of not having adequate security policies, not properly training staff, not properly surveilling the premises, and failing to respond quickly when security guard Jesus Campos was shot. The suit alleges that Paddock’s VIP status as a high-stakes gambler gave him access to a service elevator at the Mandalay Bay, which he used to stockpile weapons and ammunition in the days before the shooting.\u003c/p>\n\u003cp>In Live Nation’s case, the plaintiffs say the company failed to provide enough exits or properly train employees “in case of a foreseeable event, such as a terrorist attack or other emergency.”\u003c/p>\n\u003cp>The shooter’s estate is being sued for assault, battery and intentional infliction of emotional distress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The attorney heading the lawsuits, Muhammad Aziz, \u003ca href=\"https://www.reuters.com/article/us-lasvegas-shooting-lawsuit/hundreds-of-las-vegas-shooting-victims-file-lawsuits-in-california-court-idUSKBN1DK2OX\">told\u003c/a> Reuters that the cases were filed in California because most of the plaintiffs are from that state and received treatment there. He also noted that Live Nation is based in the state.\u003c/p>\n\u003cp>Last week, a different law firm filed 14 suits in Nevada court. In addition to MGM, Live Nation, and Paddock’s estate, these suits also name the manufacturers of the bump stock devices found in Paddock’s hotel suite. Attorneys for the plaintiffs argue that the shooting could have been stopped, and that the lawsuits are intended to prompt policy changes so it can’t happen again.\u003c/p>\n\u003cp>Similar to the California lawsuits, the suits filed in Nevada argue that MGM assisted Paddock in transporting his arsenal by giving him access to a service elevator not open to the public, and that the Mandalay Bay failed to adequately monitor the hotel premises, discover his weapons, have gunshot detection devices in hotel rooms, or have adequate procedures to handle an active shooter situation. The suit alleges that Live Nation failed to provide adequate exits or properly train staff to handle emergencies.\u003c/p>\n\u003cp>“The evidence we’ve seen thus far clearly indicates that the defendants were culpable in contributing to the 58 victims who lost their lives and the thousands more still suffering from severe injuries that will take years to overcome, if ever,” said attorney Antonio Romanucci in a press release. He is also lead counsel in lawsuits related to the 2016 shooting at Orlando’s Pulse nightclub.\u003c/p>\n\u003cp>Live Nation told NPR that it does not typically comment on ongoing litigation.\u003c/p>\n\u003cp>MGM wrote in a statement to NPR: “The incident that took place on October 1st was a terrible tragedy perpetrated by an evil man. These kinds of lawsuits are not unexpected and we intend to defend ourselves against them. That said, out of respect for the victims, we will give our response through the appropriate legal channels.”\u003c/p>\n\u003cp>It won’t be easy to prove the venues were negligent.\u003c/p>\n\u003cp>“One can’t blame the hotel for not predicting that this gunman would go up to their 32nd floor with an arsenal and break out the windows and start firing at people,” Tom Russell, a personal injury lawyer and law professor at the University of Denver \u003ca href=\"https://www.npr.org/2017/10/13/557520555/lawsuits-begin-after-las-vegas-massacre\">told\u003c/a> NPR’s Kirk Siegler. He said venues can also be victims, in the form of lost business or other harms.\u003c/p>\n\u003cp>As Kirk reported last month, victims sued the theater chain Cinemark after the 2012 Aurora, Colo., movie theater shooting. But the victims lost their suit, and were ordered to pay Cinemark’s legal fees. A legal expert also said that lawsuits against the gun industry tend to be unsuccessful.\u003c/p>\n\u003cp>“Laws like the Protection of Lawful Commerce in Arms Act passed as recently as 2005 broadly exempt the gun industry from any tort lawsuits when criminals use their products,” Kirk reported. “Meanwhile some victims, as in one motion already filed in Las Vegas, go after the gunman’s assets. But even if they win, there’s rarely enough money to go around.”\u003c/p>\n\u003cp>C. Chad Pinkerton, an attorney in the California suits, told the Associated Press that the shooting could have been avoided if officials had implemented safety recommendations and followed the weapons policies they had.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We know in this day and age that evil does happen, and we have to protect against that,” he told the AP. “This was the largest venue security failure in U.S. history.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Hundreds+Of+Victims+Of+Las+Vegas+Shooting+File+Lawsuits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pixar co-founder John Lasseter is taking a six-month sabbatical as Walt Disney Animation Studios’ chief creative officer after possible misconduct during his leadership.\u003c/p>\n\u003cp>Lasseter, who co-founded Pixar in 1979 when it was under the purview of Lucasfilm, issued a memo on Tuesday, Nov. 20 to Disney/Pixar staff announcing his leave of absence and apologizing for his “missteps,” \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113\" target=\"_blank\" rel=\"noopener\">reports \u003cem>The Hollywood Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable,” he writes in the memo. \u003c/p>\n\u003cblockquote>\u003cp>“That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\u003c/blockquote>\n\u003cp>Lasseter, according to another report by \u003cem>THR\u003c/em>, has made unwanted physical advances at women working at Pixar — including Rashida Jones, who left her writing post at \u003cem>Toy Story 4\u003c/em> because of his inappropriate behavior. Other sources have witnessed Lasseter kissing, hugging and touching women at Pixar’s Emeryville office and during company events. He has an established reputation as a “hugger,” a fact that has been documented since a \u003ca href=\"https://usatoday30.usatoday.com/life/movies/news/2006-03-08-cars-main_x.htm\"> USA Today feature on him published back in 2006\u003c/a>.\u003c/p>\n\u003cp>Lasseter has been integral in Disney Studios’ revitalization since 2006, when the conglomerate purchased Pixar. As chief creative officer of both studios, he executive produces or produces every Pixar and Walt Disney Animation project, including \u003cem>Frozen, Tangled, \u003c/em>and \u003cem>Inside Out\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Nov. 7, he received a Lifetime Achievement Award at a fundraising event held by the Walt Disney Family Museum in San Francisco. Lasseter is also slated to speak at the Hanna Boys Center in Sonoma as part of the city’s Speaker Series in December. Lasseter is a longtime Sonoma County resident, where he owns a winery with his wife, Nancy.\u003c/p>\n\u003cp>“We are committed to maintaining an environment in which all employees are respected and empowered to do their best work,” \u003ca href=\"https://io9.gizmodo.com/disney-executive-john-lasseter-taking-leave-of-absence-1820653126\" target=\"_blank\" rel=\"noopener\">reads a statement to io9 by a Disney spokesperson\u003c/a>. “We appreciate John’s candor and sincere apology and fully support his sabbatical.”\u003c/p>\n\u003cp>Pixar’s latest project, \u003cem>Coco\u003c/em>, will be released on Thanksgiving day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full memo can be found below.\u003c/p>\n\u003cblockquote>\u003cp>I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.\u003c/p>\n\u003cp>I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\n\u003cp>In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.\u003c/p>\n\u003cp>I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.\u003c/p>\n\u003cp>John\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pixar co-founder John Lasseter is taking a six-month sabbatical as Walt Disney Animation Studios’ chief creative officer after possible misconduct during his leadership.\u003c/p>\n\u003cp>Lasseter, who co-founded Pixar in 1979 when it was under the purview of Lucasfilm, issued a memo on Tuesday, Nov. 20 to Disney/Pixar staff announcing his leave of absence and apologizing for his “missteps,” \u003ca href=\"https://www.hollywoodreporter.com/news/john-lasseter-taking-leave-absence-pixar-missteps-1057113\" target=\"_blank\" rel=\"noopener\">reports \u003cem>The Hollywood Reporter\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable,” he writes in the memo. \u003c/p>\n\u003cblockquote>\u003cp>“That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\u003c/blockquote>\n\u003cp>Lasseter, according to another report by \u003cem>THR\u003c/em>, has made unwanted physical advances at women working at Pixar — including Rashida Jones, who left her writing post at \u003cem>Toy Story 4\u003c/em> because of his inappropriate behavior. Other sources have witnessed Lasseter kissing, hugging and touching women at Pixar’s Emeryville office and during company events. He has an established reputation as a “hugger,” a fact that has been documented since a \u003ca href=\"https://usatoday30.usatoday.com/life/movies/news/2006-03-08-cars-main_x.htm\"> USA Today feature on him published back in 2006\u003c/a>.\u003c/p>\n\u003cp>Lasseter has been integral in Disney Studios’ revitalization since 2006, when the conglomerate purchased Pixar. As chief creative officer of both studios, he executive produces or produces every Pixar and Walt Disney Animation project, including \u003cem>Frozen, Tangled, \u003c/em>and \u003cem>Inside Out\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Nov. 7, he received a Lifetime Achievement Award at a fundraising event held by the Walt Disney Family Museum in San Francisco. Lasseter is also slated to speak at the Hanna Boys Center in Sonoma as part of the city’s Speaker Series in December. Lasseter is a longtime Sonoma County resident, where he owns a winery with his wife, Nancy.\u003c/p>\n\u003cp>“We are committed to maintaining an environment in which all employees are respected and empowered to do their best work,” \u003ca href=\"https://io9.gizmodo.com/disney-executive-john-lasseter-taking-leave-of-absence-1820653126\" target=\"_blank\" rel=\"noopener\">reads a statement to io9 by a Disney spokesperson\u003c/a>. “We appreciate John’s candor and sincere apology and fully support his sabbatical.”\u003c/p>\n\u003cp>Pixar’s latest project, \u003cem>Coco\u003c/em>, will be released on Thanksgiving day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The full memo can be found below.\u003c/p>\n\u003cblockquote>\u003cp>I have always wanted our animation studios to be places where creators can explore their vision with the support and collaboration of other gifted animators and storytellers. This kind of creative culture takes constant vigilance to maintain. It’s built on trust and respect, and it becomes fragile if any members of the team don’t feel valued. As a leader, it’s my responsibility to ensure that doesn’t happen; and I now believe I have been falling short in this regard.\u003c/p>\n\u003cp>I’ve recently had a number of difficult conversations that have been very painful for me. It’s never easy to face your missteps, but it’s the only way to learn from them. As a result, I’ve been giving a lot of thought to the leader I am today compared to the mentor, advocate and champion I want to be. It’s been brought to my attention that I have made some of you feel disrespected or uncomfortable. That was never my intent. Collectively, you mean the world to me, and I deeply apologize if I have let you down. I especially want to apologize to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected.\u003c/p>\n\u003cp>In my conversations with Disney, we are united in our commitment to always treat any concerns you have with the seriousness they deserve, and to address them in an appropriate manner. We also share a desire to reinforce the vibrant, respectful culture that has been the foundation of our studios’ success since the beginning. And we agree the first step in that direction is for me to take some time away to reflect on how to move forward from here. As hard as it is for me to step away from a job I am so passionate about and a team I hold in the highest regard, not just as artists but as people, I know it’s the best thing for all of us right now. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve.\u003c/p>\n\u003cp>I’m immensely proud of this team, and I know you will continue to wow the world in my absence. I wish you all a wonderful holiday season and look forward to working together again in the new year.\u003c/p>\n\u003cp>John\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comic actor Sacha Baron Cohen has offered to pay the fines for six Czech tourists who were reportedly detained by authorities in Kazakhstan’s capital Astana for dressing up as his character Borat.\u003c/p>\n\u003cp>Sporting lime green “mankinis” and black wigs, the men had hoped to take a picture in front of the “I Love Astana” sign earlier this month.\u003c/p>\n\u003cp>But local police fined them some $68 each for committing minor hooliganism, according to local media.\u003c/p>\n\u003cp>In a Facebook post on Tuesday, Baron Cohen says: “To my Czech mates who were arrested. Send me your details and proof that it was you, and I’ll pay your fine.”\u003c/p>\n\u003cp>https://www.facebook.com/SachaBaronCohen/posts/1746900385619054\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The swimsuit became popular after Baron Cohen sported it in the 2006 movie \u003cem>Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That film offended many Kazakhs by portraying the country as backward and degenerate.\u003c/p>\n\n",
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"content": "\u003cp>“We know who you are.”\u003c/p>\n\u003cp>So concludes a letter, part of the #MeToo campaign addressing and confronting sexual harassment and assault in the workplace and beyond, signed by more than 2,000 women within the Swedish music industry. They work for companies big and small, including major and independent labels, promoters like Live Nation, the streaming service Spotify (which was founded in the country) and high-profile artists like Robyn and The Cardigans’ Nina Persson. The \u003ca href=\"https://www.dn.se/kultur-noje/1993-women-in-the-swedish-music-industry-behind-appeal-against-sexism/\" target=\"_blank\" rel=\"noopener\">letter\u003c/a> and the \u003ca href=\"https://www.dn.se/kultur-noje/de-har-skrivit-under-uppropet-narmusikentystnar/\" target=\"_blank\" rel=\"noopener\">list of signatories\u003c/a> was published over the weekend by the \u003cem>Dagens Nyheter\u003c/em> newspaper.\u003c/p>\n\u003cp>It includes nine stories, submitted anonymously and without naming the perpetrators involved, describing experiences of deeply disrespectful and demeaning treatment and of harrowing sexual violence, including rape. It claims to have gathered hundreds more while collecting signatures. The stories “describe things that happen every day,” it reads.\u003c/p>\n\u003cp>“The people who reproduce the culture of silence,” it continues, “and make sure it is kept in place, are the same men who sit on TV programmes, in t-shirts with feminist aphorisms written on them, or who set quotas for how many female artists should be booked to play at big festivals.\u003c/p>\n\u003cp>“The discrepancy between words and actions is enormous, and the values and policies, which are decided in the industry concerning sexism and equality, are all nice words on blank papers.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The letter was the result of a closed Facebook group with around 3,000 women members and initiated by women in the Swedish music business.\u003c/p>\n\u003cp>First Aid Kit, the Swedish duo of sisters Klara and Johanna Söderberg who added their names to the letter, say the letter is directed at global power structures, regardless of industry. ” This problem isn’t unique for Sweden or the music industry,” they write in an email to NPR Music. “This is a global structural problem that needs to change. We hope we can inspire women in all industries to speak out against sexual harassment. We already know of other countries who are working on their own letters.”\u003c/p>\n\u003cp>To that end, the sisters write that a response from the International Federation of the Phonographic Industry, a global recording industry trade body, is “creating a plan of action. They want to support the victims, making it easier to file police reports and get legal advice. Hopefully this will lead to a major change in the industry.”\u003c/p>\n\u003cp>Immediately following the letter’s publication, though seemingly with no direct connection to it, an executive from the Swedish division of major label Warner Music Group was placed on leave following allegations of sexual misconduct by ten women, as \u003ca href=\"https://www.aftonbladet.se/nojesbladet/a/gXbo5/skivbolagschefen-anklagas-for-sexuella-trakasserier\" target=\"_blank\" rel=\"noopener\">reported by \u003cem>Aftonbladet\u003c/em>\u003c/a>. Warner Music Group provided this statement when reached for comment: “We have a code of conduct regarding harassment of any kind and these allegations are being treated very seriously. We have suspended the individual concerned while a thorough independent investigation is conducted. We’ve also held an internal meeting in Stockholm to reiterate to our team the avenues available to make any complaints and how carefully and swiftly we will respond.”\u003c/p>\n\u003cp>While unnamed for now, the executive is the first from a major music company to be placed on leave since the \u003ca href=\"https://www.npr.org/tags/555982871/harvey-weinstein\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein revelations\u003c/a>, which many see as a turning point in how sexual harassment and assault allegations are received and dealt with.\u003c/p>\n\u003cp>The accounts now arrive daily. As this story was being written and edited, Evan Stephen of the band \u003ca href=\"https://www.npr.org/artists/484364070/pinegrove\" target=\"_blank\" rel=\"noopener\">Pinegrove\u003c/a> posted \u003ca href=\"https://www.facebook.com/Pinegroveband/posts/10155748505559774\" target=\"_blank\" rel=\"noopener\">a lengthy missive\u003c/a> to Facebook in which he admits to “sexual coercion,” also announcing his band was canceling its upcoming tour.\u003c/p>\n\u003cp>Just yesterday, veteran television presenter \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">Charlie Rose\u003c/a> was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">fired by CBS\u003c/a> and \u003cem>New York Times\u003c/em> White House correspondent Glenn Thrush was suspended from his job in the wake of accusations of sexual misconduct. One senior news executive for NPR, Mike Oreskes, was \u003ca href=\"https://www.npr.org/2017/11/01/561427869/top-npr-new-executive-mike-oreskes-resigns-amid-allegations-of-sexual-harassment\" target=\"_blank\" rel=\"noopener\">fired\u003c/a> following accusations of inappropriate behavior towards colleagues, while another, chief news editor David Sweeney, was \u003ca href=\"https://www.npr.org/2017/11/16/564629232/chairman-steps-down-as-npr-grapples-with-harassment-crisis\" target=\"_blank\" rel=\"noopener\">placed on leave\u003c/a> pending an investigation.\u003c/p>\n\u003cp>“Victims of sexual harassment and assault have many times been made to feel shameful for what has been done to them,” the Söderbergs write. “We need to put the shame back where it belongs, which is with the perpetrators and the people protecting them. We will no longer be silent. We will listen to and support each other fully. Together, we are strong.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong> 2:06 p.m., Nov. 21 with additional information about the letter’s organization and quotes from First Aid Kit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=2%2C000+Women+From+Swedish+Music+Industry+Sign+%23MeToo+Letter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“We know who you are.”\u003c/p>\n\u003cp>So concludes a letter, part of the #MeToo campaign addressing and confronting sexual harassment and assault in the workplace and beyond, signed by more than 2,000 women within the Swedish music industry. They work for companies big and small, including major and independent labels, promoters like Live Nation, the streaming service Spotify (which was founded in the country) and high-profile artists like Robyn and The Cardigans’ Nina Persson. The \u003ca href=\"https://www.dn.se/kultur-noje/1993-women-in-the-swedish-music-industry-behind-appeal-against-sexism/\" target=\"_blank\" rel=\"noopener\">letter\u003c/a> and the \u003ca href=\"https://www.dn.se/kultur-noje/de-har-skrivit-under-uppropet-narmusikentystnar/\" target=\"_blank\" rel=\"noopener\">list of signatories\u003c/a> was published over the weekend by the \u003cem>Dagens Nyheter\u003c/em> newspaper.\u003c/p>\n\u003cp>It includes nine stories, submitted anonymously and without naming the perpetrators involved, describing experiences of deeply disrespectful and demeaning treatment and of harrowing sexual violence, including rape. It claims to have gathered hundreds more while collecting signatures. The stories “describe things that happen every day,” it reads.\u003c/p>\n\u003cp>“The people who reproduce the culture of silence,” it continues, “and make sure it is kept in place, are the same men who sit on TV programmes, in t-shirts with feminist aphorisms written on them, or who set quotas for how many female artists should be booked to play at big festivals.\u003c/p>\n\u003cp>“The discrepancy between words and actions is enormous, and the values and policies, which are decided in the industry concerning sexism and equality, are all nice words on blank papers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter was the result of a closed Facebook group with around 3,000 women members and initiated by women in the Swedish music business.\u003c/p>\n\u003cp>First Aid Kit, the Swedish duo of sisters Klara and Johanna Söderberg who added their names to the letter, say the letter is directed at global power structures, regardless of industry. ” This problem isn’t unique for Sweden or the music industry,” they write in an email to NPR Music. “This is a global structural problem that needs to change. We hope we can inspire women in all industries to speak out against sexual harassment. We already know of other countries who are working on their own letters.”\u003c/p>\n\u003cp>To that end, the sisters write that a response from the International Federation of the Phonographic Industry, a global recording industry trade body, is “creating a plan of action. They want to support the victims, making it easier to file police reports and get legal advice. Hopefully this will lead to a major change in the industry.”\u003c/p>\n\u003cp>Immediately following the letter’s publication, though seemingly with no direct connection to it, an executive from the Swedish division of major label Warner Music Group was placed on leave following allegations of sexual misconduct by ten women, as \u003ca href=\"https://www.aftonbladet.se/nojesbladet/a/gXbo5/skivbolagschefen-anklagas-for-sexuella-trakasserier\" target=\"_blank\" rel=\"noopener\">reported by \u003cem>Aftonbladet\u003c/em>\u003c/a>. Warner Music Group provided this statement when reached for comment: “We have a code of conduct regarding harassment of any kind and these allegations are being treated very seriously. We have suspended the individual concerned while a thorough independent investigation is conducted. We’ve also held an internal meeting in Stockholm to reiterate to our team the avenues available to make any complaints and how carefully and swiftly we will respond.”\u003c/p>\n\u003cp>While unnamed for now, the executive is the first from a major music company to be placed on leave since the \u003ca href=\"https://www.npr.org/tags/555982871/harvey-weinstein\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein revelations\u003c/a>, which many see as a turning point in how sexual harassment and assault allegations are received and dealt with.\u003c/p>\n\u003cp>The accounts now arrive daily. As this story was being written and edited, Evan Stephen of the band \u003ca href=\"https://www.npr.org/artists/484364070/pinegrove\" target=\"_blank\" rel=\"noopener\">Pinegrove\u003c/a> posted \u003ca href=\"https://www.facebook.com/Pinegroveband/posts/10155748505559774\" target=\"_blank\" rel=\"noopener\">a lengthy missive\u003c/a> to Facebook in which he admits to “sexual coercion,” also announcing his band was canceling its upcoming tour.\u003c/p>\n\u003cp>Just yesterday, veteran television presenter \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">Charlie Rose\u003c/a> was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\" target=\"_blank\" rel=\"noopener\">fired by CBS\u003c/a> and \u003cem>New York Times\u003c/em> White House correspondent Glenn Thrush was suspended from his job in the wake of accusations of sexual misconduct. One senior news executive for NPR, Mike Oreskes, was \u003ca href=\"https://www.npr.org/2017/11/01/561427869/top-npr-new-executive-mike-oreskes-resigns-amid-allegations-of-sexual-harassment\" target=\"_blank\" rel=\"noopener\">fired\u003c/a> following accusations of inappropriate behavior towards colleagues, while another, chief news editor David Sweeney, was \u003ca href=\"https://www.npr.org/2017/11/16/564629232/chairman-steps-down-as-npr-grapples-with-harassment-crisis\" target=\"_blank\" rel=\"noopener\">placed on leave\u003c/a> pending an investigation.\u003c/p>\n\u003cp>“Victims of sexual harassment and assault have many times been made to feel shameful for what has been done to them,” the Söderbergs write. “We need to put the shame back where it belongs, which is with the perpetrators and the people protecting them. We will no longer be silent. We will listen to and support each other fully. Together, we are strong.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong> 2:06 p.m., Nov. 21 with additional information about the letter’s organization and quotes from First Aid Kit.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=2%2C000+Women+From+Swedish+Music+Industry+Sign+%23MeToo+Letter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Della Reese, a performer and pastor best known for her starring role on the CBS spiritual drama \u003cem>Touched by an Angel\u003c/em>, has died at 86.\u003c/p>\n\u003cp>“Her signature television role came late in life,” NPR’s Eric Deggans reported. “Reese already had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.”\u003c/p>\n\u003cp>Her husband Franklin Lett \u003ca href=\"https://www.instagram.com/p/BbufhPnDUDz/\">released a statement\u003c/a> through her \u003cem>Touched by an Angel\u003c/em> costar Roma Downey, saying that Reese “has passed away peacefully at her California home surrounded by love.”\u003c/p>\n\u003cp>Downey added, “I know heaven has a brand new angel this day.”\u003c/p>\n\u003cp>Reese, who was born Delloreese Patricia Early in Detroit, started singing in church when she was six. She \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1525893\">told NPR in 2003\u003c/a> that she was recruited by gospel legend Mahalia Jackson to tour with her at the age of 12.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My mother took Mahalia aside and looked into her eyes and said, `I’ve got a good child here. I wouldn’t let her go off with everybody, but I trust you. I know you’re a woman of God and I’m expecting you to bring me back a better child than I’m sending away with you,'” Reese told the \u003cem>Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>From there, her songs climbed pop charts, such as “Don’t You Know,” which is adapted from an aria from the opera \u003cem>La Boheme\u003c/em>. As Eric reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Her dignified image led to mainstream stardom. She was on \u003cem>The Ed Sullivan Show\u003c/em> 18 times in one year. She also became the first black woman to host her own syndicated variety series and the first black woman to guest host Johnny Carson’s \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>“It was on the set of that show in 1979 that she suffered a brain aneurysm; a near-death experience that inspired her to become an ordained minister.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Her own show, \u003cem>Della\u003c/em>, was on air for one season in 1969-70 with nearly 200 episodes, \u003ca href=\"https://www.nytimes.com/2017/11/20/obituaries/della-reese-singer-and-touched-by-an-angel-star-dies-at-86.html\">The New York Times reported\u003c/a>, with guests including “George Burns, Ike and Tina Turner, Little Richard, Steve Allen, Tony Bennett, Ethel Waters and Gypsy Rose Lee.”\u003c/p>\n\u003cp>In \u003cem>Touched by an Angel\u003c/em>, Reese plays Tess, a sarcastic angel boss who is a maternal figure to Downey’s apprentice guardian angel. “No one played the down to earth, worldly mother figure like Della Reese,” Eric adds.\u003c/p>\n\u003cp>The show was a hit, and ran for nine years “telling stories of God’s impact in everyday life,” Eric says. “People need something to help them with their lives. In the show, we didn’t tell you what to do, we said, ‘did you ever think about it like this?'” Reese said, as Eric reports.\u003c/p>\n\u003cp>Reese also sang the show’s theme song, “Walk with You.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an ordained minister, Reese founded a church called the Understanding Principles for Better Living Church out of her living room. \u003ca href=\"http://upchurch.org/about-our-founder-rev-della-reese-lett/\">The church’s website recounts that\u003c/a> from an original eight members, the church soon outgrew her living room. As the \u003cem>Times\u003c/em> reported, “she delivered Sunday services there for many years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Della+Reese%2C+%27Touched+By+An+Angel%27+Star+And+Singer%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Della Reese, a performer and pastor best known for her starring role on the CBS spiritual drama \u003cem>Touched by an Angel\u003c/em>, has died at 86.\u003c/p>\n\u003cp>“Her signature television role came late in life,” NPR’s Eric Deggans reported. “Reese already had been famous for decades as a gospel-influenced R&B performer, TV guest star and talk show fixture.”\u003c/p>\n\u003cp>Her husband Franklin Lett \u003ca href=\"https://www.instagram.com/p/BbufhPnDUDz/\">released a statement\u003c/a> through her \u003cem>Touched by an Angel\u003c/em> costar Roma Downey, saying that Reese “has passed away peacefully at her California home surrounded by love.”\u003c/p>\n\u003cp>Downey added, “I know heaven has a brand new angel this day.”\u003c/p>\n\u003cp>Reese, who was born Delloreese Patricia Early in Detroit, started singing in church when she was six. She \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1525893\">told NPR in 2003\u003c/a> that she was recruited by gospel legend Mahalia Jackson to tour with her at the age of 12.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My mother took Mahalia aside and looked into her eyes and said, `I’ve got a good child here. I wouldn’t let her go off with everybody, but I trust you. I know you’re a woman of God and I’m expecting you to bring me back a better child than I’m sending away with you,'” Reese told the \u003cem>Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>From there, her songs climbed pop charts, such as “Don’t You Know,” which is adapted from an aria from the opera \u003cem>La Boheme\u003c/em>. As Eric reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Her dignified image led to mainstream stardom. She was on \u003cem>The Ed Sullivan Show\u003c/em> 18 times in one year. She also became the first black woman to host her own syndicated variety series and the first black woman to guest host Johnny Carson’s \u003cem>Tonight Show\u003c/em>.\u003c/p>\n\u003cp>“It was on the set of that show in 1979 that she suffered a brain aneurysm; a near-death experience that inspired her to become an ordained minister.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Her own show, \u003cem>Della\u003c/em>, was on air for one season in 1969-70 with nearly 200 episodes, \u003ca href=\"https://www.nytimes.com/2017/11/20/obituaries/della-reese-singer-and-touched-by-an-angel-star-dies-at-86.html\">The New York Times reported\u003c/a>, with guests including “George Burns, Ike and Tina Turner, Little Richard, Steve Allen, Tony Bennett, Ethel Waters and Gypsy Rose Lee.”\u003c/p>\n\u003cp>In \u003cem>Touched by an Angel\u003c/em>, Reese plays Tess, a sarcastic angel boss who is a maternal figure to Downey’s apprentice guardian angel. “No one played the down to earth, worldly mother figure like Della Reese,” Eric adds.\u003c/p>\n\u003cp>The show was a hit, and ran for nine years “telling stories of God’s impact in everyday life,” Eric says. “People need something to help them with their lives. In the show, we didn’t tell you what to do, we said, ‘did you ever think about it like this?'” Reese said, as Eric reports.\u003c/p>\n\u003cp>Reese also sang the show’s theme song, “Walk with You.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As an ordained minister, Reese founded a church called the Understanding Principles for Better Living Church out of her living room. \u003ca href=\"http://upchurch.org/about-our-founder-rev-della-reese-lett/\">The church’s website recounts that\u003c/a> from an original eight members, the church soon outgrew her living room. As the \u003cem>Times\u003c/em> reported, “she delivered Sunday services there for many years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Della+Reese%2C+%27Touched+By+An+Angel%27+Star+And+Singer%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mel Martin, Stalwart of the Bay Area Jazz Scene, Dead at 75",
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"content": "\u003cp>Mel Martin, a multi-instrumentalist and composer who dedicated his life to the Bay Area jazz scene, died last week at the age of 75.\u003c/p>\n\u003cp>Martin died of a heart attack on Friday, Nov. 17, according to his daughter Sara Breindel. Her announcement of his passing on \u003ca href=\"https://www.facebook.com/Melissma7/posts/10213567892683980?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> inspired in an outpouring of condolences on social media.\u003c/p>\n\u003cp>“I am in mourning, shocked, and saddened beyond words. Jazz Saxophone Giant, Mel Martin has just passed,” jazz guitarist Steve Homan \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1892492484399408&id=100009160245792\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “It is so hard to even share this news. Your beautiful music, and the times we shared the stage, playing music together, will be with me always.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r_VIYkpt_vU\u003c/p>\n\u003cp>Martin played with many legendary artists over his 60-year career in music, backing up jazz greats like Dizzy Gillespie and Ella Fitzgerald and playing alongside stars in others genres like Frank Sinatra, James Brown and Tom Waits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Sacramento, Martin fell in love with jazz at the age of 12. Though Martin’s parents loved music and played piano at home, they hoped that their only son would take over the family real estate business. But Martin never showed any interest; instead, he spent much of his time at jazz clubs watching legends like Benny Goodman, Duke Ellington, Woody Herman and Cannonball Adderly.\u003c/p>\n\u003cp>“He discovered jazz and there was no stopping him,” Breindel said.\u003c/p>\n\u003cp>Originally a clarinet player, Martin began playing saxophone and flute as teenager in the music program at Sacramento High School. It was around then that he landed his first big gig playing with legendary jazz guitarist Wes Montgomery. According to Martin’s \u003ca href=\"http://www.melmartin.com/html_pages/bios.html\" target=\"_blank\" rel=\"noopener\">bio\u003c/a> on his website, by then, the Montgomery brothers (Wes, Monk and Buddy) were living in Sacramento and playing shows around town. Martin was already confident enough in his abilities to jam with other working musicians, so he got the nerve to ask the brothers if he could join them on flute.\u003c/p>\n\u003cp>“All of a sudden I was up there and I noticed I’d never sounded so good in my life. When you play with great musicians, you tend to up your game,” Martin wrote on his website. “At another gig Wes wrote out the changes to ‘West Cost Blues’ on a napkin that I still have.”\u003c/p>\n\u003cfigure id=\"attachment_13815535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg\" alt=\"Mel Martin with Dizzy Gillespie\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin with Dizzy Gillespie \u003ccite>(Courtesy of the Martin family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After high school, Martin moved to San Francisco to attend San Francisco State University (SFSU), where he majored in music. He didn’t stay long, as he found the school “disappointing” compared to the excellent program at his high school.\u003c/p>\n\u003cp>“The streets, however, were another story,” Martin said in a \u003ca href=\"http://www.bestsaxophonewebsiteever.com/what-makes-saxophone-stalwart-mel-martin-tick/\" target=\"_blank\" rel=\"noopener\">2011 interview\u003c/a>.\u003c/p>\n\u003cp>Martin then began playing with fellow SFSU student \u003ca href=\"http://www.johnhandy.com/\" target=\"_blank\" rel=\"noopener\">John Handy\u003c/a> in his Freedom Band — an experience Martin would later describe as his first time “working within a real jazz situation.” He spent the rest of the ’60s living the jazz life: Gigging at jazz clubs around the Bay Area, like Bop City and the Jazz Workshop, and staying up until the early morning hanging out with fellow jazz players.\u003c/p>\n\u003cp>In the ’70s, Martin began making a name for himself in the emerging jazz fusion scene. Among the groups he played and recorded with were \u003ca href=\"https://www.youtube.com/watch?v=ANSzlPKdLII\" target=\"_blank\" rel=\"noopener\">Azteca\u003c/a>, the Latin-fusion group led by legendary percussionists Coke Escovedo and Pete Escovedo; and \u003ca href=\"https://www.discogs.com/Sir-Douglas-Quintet-2-Honkey-Blues/release/2982700\" target=\"_blank\" rel=\"noopener\">Doug Sahm’s Honkey Blues Band\u003c/a>, the influential Texan musician’s short-lived band in San Francisco. He also played on recordings by Boz Scaggs, Chuck Berry and Dr. John, among many others.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ISc5AUZ81IA\u003c/p>\n\u003cp>In 1977, Martin started \u003ca href=\"https://www.discogs.com/artist/569851-Listen\" target=\"_blank\" rel=\"noopener\">Listen\u003c/a>, his jazz fusion group whose first two albums — 1977’s \u003ci>Featuring Mel Martin\u003c/i> and 1978’s \u003ci>Growing\u003c/i> — brought him real acclaim, including the Musician Of The Year award from the San Francisco chapter of National Academy of Recording Arts & Sciences (NARAS), the same organization that hosts the GRAMMY Awards. The first Listen record also won the BAMMY for Best Jazz Album that same year.\u003c/p>\n\u003cfigure id=\"attachment_13815552\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815552\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg\" alt=\"Mel Martin at Keystone Korner in the '70s. Martin was a regular at the legendary jazz club\" width=\"496\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-375x517.jpg 375w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin at Keystone Korner in the ’70s. Martin was a regular at the legendary jazz club \u003ccite>(Brian McMillen/Courtesy of Todd Barkan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin was also a working composer and studio musician, writing and recording parts for a wide variety of projects, including commercials and even animated shorts on \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=fhd8bcl7cdo\" target=\"_blank\" rel=\"noopener\">Sesame Street\u003c/a>\u003c/i>. He contributed music for the TV show \u003cem>t\u003c/em>\u003ci>he Twilight Zone,\u003c/i> and movies like the \u003cem>t\u003c/em>\u003ci>he Warriors,\u003c/i> \u003cem>Rumblefish\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em>.\u003c/p>\n\u003cp>Martin was a member of the musicians’ union and always had some kind of recording studio set up at his house. Even during periods when he was often playing live, he was still working on new music.\u003c/p>\n\u003cp>“His first love was definitely jazz but he played TV shows, commercials — whatever they would hire him for,” Breindel said. “I grew up with music around me 24 hours a day, in recording studios and concert halls and night clubs. There were always musicians in our house.”\u003c/p>\n\u003cp>After years of looking to the future of music, Martin began looking back at the legacy of jazz in the ’80s and ’90s. He started projects like the Mel Martin All-Star Big Band and the bebop tribute group Bebop & Beyond, who recorded albums of music by Thelonious Monk and Dizzy Gillespie — artists Martin backed on multiple occasions in his later years. Martin later started a tribute band dedicated to one of his heroes, Benny Carter. He received five grants from the National Endowment for the Arts for his tribute and preservation work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JbicfHwS21M\u003c/p>\n\u003cp>In his later years, Martin dedicated much of his time to teaching and mentoring younger musicians. After an 11-year stint teaching at the Stanford Jazz Workshop, he went on to tutor students at his home in Novato and at schools around Marin County. He also spent numerous hours on the internet discussing music, most notably on his popular Facebook group \u003ca href=\"https://www.facebook.com/groups/MMJazzSaxophone/\" target=\"_blank\" rel=\"noopener\">MEL MARTIN’S JAZZ SAXOPHONE FORUM\u003c/a>, which currently has over 2,000 members. Breindel says her father was on his computer, reaching out to his musician friends on social media when he died.\u003c/p>\n\u003cp>“He did not isolate himself at all. His thing was to share the music and really connect with people on that level,” she said.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155048314177452&set=p.10155048314177452\u003c/p>\n\u003cp>Breindel is a college-educated classical musician herself. “I wanted to rebel against my father and have all the notes written down for me,” she said, adding that there will probably be a musical celebration for her father at some point. But she feels that the big band concert Martin organized for his 75th birthday at Filoli Gardens, which included a lot of his old musician friends, was a perfect sendoff for him as he was able to play and enjoy it.\u003c/p>\n\u003cp>“It really felt like an honor and a tribute to my father’s life,” Breindel said. “I’m so glad he did that because now that I look back, I can see it was a bit of a farewell.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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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"description": "The founder of Bay Area Jazz institutions such as Listen and Bebop & Beyond died suddenly at his home.",
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"headline": "Mel Martin, Stalwart of the Bay Area Jazz Scene, Dead at 75",
"datePublished": "2017-11-20T18:30:24-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mel Martin, a multi-instrumentalist and composer who dedicated his life to the Bay Area jazz scene, died last week at the age of 75.\u003c/p>\n\u003cp>Martin died of a heart attack on Friday, Nov. 17, according to his daughter Sara Breindel. Her announcement of his passing on \u003ca href=\"https://www.facebook.com/Melissma7/posts/10213567892683980?pnref=story\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> inspired in an outpouring of condolences on social media.\u003c/p>\n\u003cp>“I am in mourning, shocked, and saddened beyond words. Jazz Saxophone Giant, Mel Martin has just passed,” jazz guitarist Steve Homan \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1892492484399408&id=100009160245792\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “It is so hard to even share this news. Your beautiful music, and the times we shared the stage, playing music together, will be with me always.”\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/r_VIYkpt_vU'\n title='//www.youtube.com/embed/r_VIYkpt_vU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Martin played with many legendary artists over his 60-year career in music, backing up jazz greats like Dizzy Gillespie and Ella Fitzgerald and playing alongside stars in others genres like Frank Sinatra, James Brown and Tom Waits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Sacramento, Martin fell in love with jazz at the age of 12. Though Martin’s parents loved music and played piano at home, they hoped that their only son would take over the family real estate business. But Martin never showed any interest; instead, he spent much of his time at jazz clubs watching legends like Benny Goodman, Duke Ellington, Woody Herman and Cannonball Adderly.\u003c/p>\n\u003cp>“He discovered jazz and there was no stopping him,” Breindel said.\u003c/p>\n\u003cp>Originally a clarinet player, Martin began playing saxophone and flute as teenager in the music program at Sacramento High School. It was around then that he landed his first big gig playing with legendary jazz guitarist Wes Montgomery. According to Martin’s \u003ca href=\"http://www.melmartin.com/html_pages/bios.html\" target=\"_blank\" rel=\"noopener\">bio\u003c/a> on his website, by then, the Montgomery brothers (Wes, Monk and Buddy) were living in Sacramento and playing shows around town. Martin was already confident enough in his abilities to jam with other working musicians, so he got the nerve to ask the brothers if he could join them on flute.\u003c/p>\n\u003cp>“All of a sudden I was up there and I noticed I’d never sounded so good in my life. When you play with great musicians, you tend to up your game,” Martin wrote on his website. “At another gig Wes wrote out the changes to ‘West Cost Blues’ on a napkin that I still have.”\u003c/p>\n\u003cfigure id=\"attachment_13815535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg\" alt=\"Mel Martin with Dizzy Gillespie\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-375x266.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-and-Dizzy-520x369.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin with Dizzy Gillespie \u003ccite>(Courtesy of the Martin family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After high school, Martin moved to San Francisco to attend San Francisco State University (SFSU), where he majored in music. He didn’t stay long, as he found the school “disappointing” compared to the excellent program at his high school.\u003c/p>\n\u003cp>“The streets, however, were another story,” Martin said in a \u003ca href=\"http://www.bestsaxophonewebsiteever.com/what-makes-saxophone-stalwart-mel-martin-tick/\" target=\"_blank\" rel=\"noopener\">2011 interview\u003c/a>.\u003c/p>\n\u003cp>Martin then began playing with fellow SFSU student \u003ca href=\"http://www.johnhandy.com/\" target=\"_blank\" rel=\"noopener\">John Handy\u003c/a> in his Freedom Band — an experience Martin would later describe as his first time “working within a real jazz situation.” He spent the rest of the ’60s living the jazz life: Gigging at jazz clubs around the Bay Area, like Bop City and the Jazz Workshop, and staying up until the early morning hanging out with fellow jazz players.\u003c/p>\n\u003cp>In the ’70s, Martin began making a name for himself in the emerging jazz fusion scene. Among the groups he played and recorded with were \u003ca href=\"https://www.youtube.com/watch?v=ANSzlPKdLII\" target=\"_blank\" rel=\"noopener\">Azteca\u003c/a>, the Latin-fusion group led by legendary percussionists Coke Escovedo and Pete Escovedo; and \u003ca href=\"https://www.discogs.com/Sir-Douglas-Quintet-2-Honkey-Blues/release/2982700\" target=\"_blank\" rel=\"noopener\">Doug Sahm’s Honkey Blues Band\u003c/a>, the influential Texan musician’s short-lived band in San Francisco. He also played on recordings by Boz Scaggs, Chuck Berry and Dr. John, among many others.\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/ISc5AUZ81IA'\n title='//www.youtube.com/embed/ISc5AUZ81IA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1977, Martin started \u003ca href=\"https://www.discogs.com/artist/569851-Listen\" target=\"_blank\" rel=\"noopener\">Listen\u003c/a>, his jazz fusion group whose first two albums — 1977’s \u003ci>Featuring Mel Martin\u003c/i> and 1978’s \u003ci>Growing\u003c/i> — brought him real acclaim, including the Musician Of The Year award from the San Francisco chapter of National Academy of Recording Arts & Sciences (NARAS), the same organization that hosts the GRAMMY Awards. The first Listen record also won the BAMMY for Best Jazz Album that same year.\u003c/p>\n\u003cfigure id=\"attachment_13815552\" class=\"wp-caption alignright\" style=\"max-width: 496px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13815552\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg\" alt=\"Mel Martin at Keystone Korner in the '70s. Martin was a regular at the legendary jazz club\" width=\"496\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner.jpg 496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-240x331.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Mel-Martin-at-KEystone-Korner-375x517.jpg 375w\" sizes=\"(max-width: 496px) 100vw, 496px\">\u003cfigcaption class=\"wp-caption-text\">Mel Martin at Keystone Korner in the ’70s. Martin was a regular at the legendary jazz club \u003ccite>(Brian McMillen/Courtesy of Todd Barkan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Martin was also a working composer and studio musician, writing and recording parts for a wide variety of projects, including commercials and even animated shorts on \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=fhd8bcl7cdo\" target=\"_blank\" rel=\"noopener\">Sesame Street\u003c/a>\u003c/i>. He contributed music for the TV show \u003cem>t\u003c/em>\u003ci>he Twilight Zone,\u003c/i> and movies like the \u003cem>t\u003c/em>\u003ci>he Warriors,\u003c/i> \u003cem>Rumblefish\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em>.\u003c/p>\n\u003cp>Martin was a member of the musicians’ union and always had some kind of recording studio set up at his house. Even during periods when he was often playing live, he was still working on new music.\u003c/p>\n\u003cp>“His first love was definitely jazz but he played TV shows, commercials — whatever they would hire him for,” Breindel said. “I grew up with music around me 24 hours a day, in recording studios and concert halls and night clubs. There were always musicians in our house.”\u003c/p>\n\u003cp>After years of looking to the future of music, Martin began looking back at the legacy of jazz in the ’80s and ’90s. He started projects like the Mel Martin All-Star Big Band and the bebop tribute group Bebop & Beyond, who recorded albums of music by Thelonious Monk and Dizzy Gillespie — artists Martin backed on multiple occasions in his later years. Martin later started a tribute band dedicated to one of his heroes, Benny Carter. He received five grants from the National Endowment for the Arts for his tribute and preservation work.\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/JbicfHwS21M'\n title='//www.youtube.com/embed/JbicfHwS21M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his later years, Martin dedicated much of his time to teaching and mentoring younger musicians. After an 11-year stint teaching at the Stanford Jazz Workshop, he went on to tutor students at his home in Novato and at schools around Marin County. He also spent numerous hours on the internet discussing music, most notably on his popular Facebook group \u003ca href=\"https://www.facebook.com/groups/MMJazzSaxophone/\" target=\"_blank\" rel=\"noopener\">MEL MARTIN’S JAZZ SAXOPHONE FORUM\u003c/a>, which currently has over 2,000 members. Breindel says her father was on his computer, reaching out to his musician friends on social media when he died.\u003c/p>\n\u003cp>“He did not isolate himself at all. His thing was to share the music and really connect with people on that level,” she said.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155048314177452&set=p.10155048314177452\u003c/p>\n\u003cp>Breindel is a college-educated classical musician herself. “I wanted to rebel against my father and have all the notes written down for me,” she said, adding that there will probably be a musical celebration for her father at some point. But she feels that the big band concert Martin organized for his 75th birthday at Filoli Gardens, which included a lot of his old musician friends, was a perfect sendoff for him as he was able to play and enjoy it.\u003c/p>\n\u003cp>“It really felt like an honor and a tribute to my father’s life,” Breindel said. “I’m so glad he did that because now that I look back, I can see it was a bit of a farewell.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "for-undocumented-workers-an-uphill-journey-after-the-fires",
"title": "For Undocumented Workers, an Uphill Journey After the Fires",
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"headTitle": "For Undocumented Workers, an Uphill Journey After the Fires | KQED",
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"content": "\u003cp>The national media calls them the “wine country fires” — the destructive fires in Sonoma and Napa Counties which decimated thousands of homes and businesses in October.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/up-from-the-ashes/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13813910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>But to understand the fires’ impact on the immigrant community, the “wine country” description only tells part of the story. Of the roughly 28,000 undocumented immigrants who live and work in Sonoma County, some laborers who worked at affected vineyards after the fires had \u003ca href=\"https://www.usatoday.com/story/money/business/2017/10/11/napa-fires-rage-wineries-face-singed-grapes-displaced-workers-and-costs-rebuilding/751267001/\" target=\"_blank\" rel=\"noopener\">fewer or no grapes\u003c/a> to pick; others \u003ca href=\"https://www.winebusiness.com/news/?go=getArticle&dataid=190974\" target=\"_blank\" rel=\"noopener\">picked what was left in the vineyards without masks\u003c/a>, prompting an advisory from the state Occupational Safety and Health Administration.\u003c/p>\n\u003cp>An even larger population of immigrants utilized widely throughout the county are the undocumented domestic workers — house cleaners, landscapers, and pool cleaners — who relied on employment at large homes in the upper-class hillside neighborhoods of Fountaingrove, the Foothills, and elsewhere.\u003c/p>\n\u003cp>Nearly all of those homes no longer exist.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local immigrant advocates predict that domestic workers, and not vineyard workers, will face the biggest challenges rebuilding their lives after the fires. In addition to maid services, landscapers, and house cleaners having far fewer houses to clean and maintain, other longstanding issues of housing and assistance for Sonoma County’s undocumented population have been exacerbated by the fires.\u003c/p>\n\u003ch2>Anecdotal hazards\u003c/h2>\n\u003cp>Amid rumors of ICE agents’ presence at local evacuation centers, many undocumented immigrants left the county during the disaster. Already facing lost wages because of evacuation, many were dealt an added blow when they discovered that they were no longer employed.\u003c/p>\n\u003cp>Mario Castillo, who manages the \u003ca href=\"https://springshall.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Springs Community Hall\u003c/a> and works as a community resource navigator for the First Congregational Church in the Sonoma Valley area, witnessed immediate challenges for local domestic workers. The community hall, about 20 miles east of Santa Rosa, has been open daily for lunches, serving thousands of people since the fires started last month.\u003c/p>\n\u003cfigure id=\"attachment_13814059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0118-800x533.jpg\" alt=\"Sonoma Valley community organizer Mario Castillo posts a gold sticker to vote in support of immigration policy at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonoma Valley community organizer Mario Castillo posts a gold sticker to vote in support of immigration policy at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of families have lost their jobs because their employers were not able to go back to their business for whatever reason,” says Castillo. “So they found themselves not only losing income during the time that the fires were happening but also after.”\u003c/p>\n\u003cp>Homes and businesses where many worked as house cleaners were destroyed in the fires, Castillo says. Other workers were asked to do labor in hazardous conditions, cleaning or picking grapes without adequate respiratory protection.\u003c/p>\n\u003cp>A week into the three-week blaze, Castillo met six women — one of whom lost her house and family dog in the Nuns-Partrick fire — who worked as housekeepers in a local hotel. They had just returned to the area after evacuating to shelters in nearby towns. The women were upset about being asked to do major cleaning at the business, which had hazardous smoke damage. Castillo stepped in to mediate.\u003c/p>\n\u003cp>“I called the manager, called the owners and managed to get them a meeting so that they could talk about what was happening,” says Castillo. “Later, I found out that the owner of the hotel laid them off.”\u003c/p>\n\u003cp>“It’s been very, very traumatic, very stressful, very difficult,” adds Castillo.\u003c/p>\n\u003cp>Ten miles west of Santa Rosa, \u003ca href=\"http://www.gratondaylabor.org/\" target=\"_blank\" rel=\"noopener\">Centro Laboral de Graton\u003c/a> (the Graton Day Labor Center) connects day laborers, including a large number of domestic workers, with employment at their worker pick-up site. The center also sponsors ALMAS, a domestic worker organizing project. Christy Lubin, the center’s executive director, says the impact on domestic workers is difficult to calculate because domestic workers are a part of the casual economy, and work behind closed doors.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘A lot of folks worked up in the Fountaingrove area… they don’t know what they’re going to do now that the homes they clean, or the pools they clean, or the landscaping work that they do is no more.’ \u003ccite>Mara Ventura\u003c/cite>\u003c/aside>\n\u003cp>Megan Weber of the \u003ca href=\"http://www.cadomesticworkers.org/\" target=\"_blank\" rel=\"noopener\">California Domestic Workers Coalition\u003c/a> says that there were more than 4,000 domestic workers in Sonoma County in 2013, a number that has surely grown in recent years but is hard to collect current data for because of the nature of domestic workers’ casual employment. She points to a 2016 UCLA Labor Center study that shows house cleaners make up more than 50 percent of the domestic labor market statewide.\u003c/p>\n\u003cp>“The need for data is critical, and many people are grasping for numbers,” says Lubin.\u003c/p>\n\u003cp>Despite this lack of data — which is crucial for accessing job loss for the undocumented community — Lubin has witnessed a dire impact on some of the laborers at the center.\u003c/p>\n\u003cp>“A huge number of the houses that burned down were in exclusive neighborhoods. I spoke with one woman who has a crew of five and they lost 20 jobs from the fire,” says Lubin. “On top of losing jobs due to the fire, some have lost homes and possessions, and others are caring for family members who did lose homes.”\u003c/p>\n\u003cp>Lubin says that many of the women that have returned to work are facing hazardous scenarios similar to those Castillo saw in Glen Ellen.\u003c/p>\n\u003cp>“Domestic workers are cleaning homes that did not burn but suffered smoke damage. Special companies come in to do smoke damage cleanup, then the homeowners have domestic workers do a final clean before they move back in,” says Lubin. “No one really knows what chemicals were used to remove the smoke damage.” Lubin further questions if domestic workers are supplied with protective equipment, or are trained about the potential risks of cleaning these houses.\u003c/p>\n\u003ch2>No access to FEMA\u003c/h2>\n\u003cp>According to Mara Ventura, Lead Organizer at \u003ca href=\"http://www.northbayjobswithjustice.org/\" target=\"_blank\" rel=\"noopener\">North Bay Jobs with Justice\u003c/a>, a Santa Rosa-based labor and immigrant rights coalition, loss of wages from time away from work and permanent job loss are the biggest issues for the immigrant community after the fires.\u003c/p>\n\u003cp>“We have, of course, the Coffey Park neighborhood, that had a lot of homes where two to three families were living in them, more middle classes, and also our lower income migrant families,” says Ventura. “Another problem is that a lot of folks worked up in the Fountaingrove area, and lots of them worked at the businesses that were lost. They don’t know what they’re going to do now that the homes they clean, or the pools they clean, or the landscaping work that they do is no more,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_13814065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0552-800x533.jpg\" alt=\"North Bay Jobs for Justice lead organizer Mara Ventura sits outside of her office in downtown Santa Rosa. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">North Bay Jobs for Justice lead organizer Mara Ventura sits outside of her office in downtown Santa Rosa. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"http://sonomaedb.org/WorkArea/DownloadAsset.aspx?id=2147539271\" target=\"_blank\" rel=\"noopener\">recent report\u003c/a> shows that Sonoma County has the largest Latino population in the North Bay region. Ventura says that this population has the highest number of adults who are \u003ca href=\"https://www.merriam-webster.com/dictionary/underemployment\" target=\"_blank\" rel=\"noopener\">underemployed\u003c/a>, working part-time hours and working for rates of $10 per hour (minimum wage) or below.\u003c/p>\n\u003cp>“Many of them work multiple jobs. The impact of the fires, for many of them, have been loss of wages for a week or two, and it could impact their family, and will for months, when they’re living paycheck to paycheck,” says Ventura. “We’re really concerned about the rains coming, and the floods coming, and what plans people are making in the long-term.”\u003c/p>\n\u003cp>With disaster funds from FEMA allocated strictly to U.S. citizens, undocumented residents have fewer options for financial support. In mid-October, the \u003ca href=\"https://ww2.kqed.org/news/2017/10/24/mexican-government-steps-in-to-help-wildfire-victims/\" target=\"_blank\" rel=\"noopener\">Mexican consulate stepped in\u003c/a>, offering help with locating missing people, document recovery and referrals to housing or shelter and psychological services. At the consulate’s two-day drop-in site in the Roseland neighborhood of Santa Rosa, all financial needs were assessed on a case-by-case basis. At that point, the fires had been burning, still widely uncontained, for 10 days.\u003c/p>\n\u003ch2>Grassroots assistance\u003c/h2>\n\u003cp>Before the Mexican consulate showed up, however, Latino-led community organizations began laying the ground work for financial assistance.\u003c/p>\n\u003cp>The \u003ca href=\"http://undocufund.org/\" target=\"_blank\" rel=\"noopener\">UndocuFund\u003c/a> program, a collaborative effort between North Bay Jobs with Justice, \u003ca href=\"http://northbayop.org/\" target=\"_blank\" rel=\"noopener\">North Bay Organizing Project\u003c/a> and the Graton Day Labor Center, aims to fill the financial gaps left by lost wages. The groups came together quickly to get UndocuFund up and running; by the fourth day of the fires, UndocuFund had a bank account and support from the \u003ca href=\"https://www.gcir.org/\" target=\"_blank\" rel=\"noopener\">Grantmakers Concerned for Immigrants and Refugees\u003c/a> to administer funds.\u003c/p>\n\u003cp>A website with its mission to “provide direct funding to undocumented immigrants in Sonoma County and their families to help with expenses incurred directly as a result of the fires” was live, and donations started rolling in. To date, UndocuFund has raised nearly $1 million.\u003c/p>\n\u003cfigure id=\"attachment_13815509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815509\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GratonDayLabor-800x533.jpg\" alt=\"The Graton Day Labor Center in West Sonoma County.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Graton Day Labor Center in West Sonoma County. \u003ccite>(Courtesy Graton Day Labor Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Omar Medina says that within the first week, \u003ca href=\"https://californiahumandevelopment.org/\" target=\"_blank\" rel=\"noopener\">California Human Development\u003c/a> in Santa Rosa identified 400 families who needed immediate assistance and who wouldn’t otherwise qualify for government-based services due to their immigration status. Medina, treasurer at the North Bay Organizing Project and a volunteer with UndocuFund, says that on-the-ground reporting has been key as well.\u003c/p>\n\u003cp>“We gathered a group of undocumented folks and family members also impacted and asked them, ‘What are you going through? What are you seeing? What are you hearing from your community?’,” says Medina.\u003c/p>\n\u003cp>From his initial assessment, his findings echoed what Ventura was hearing: financial support for rental assistance or first-month deposits were the biggest needs. Applicants will receive help with paperwork through community partner organizations and application clinics, and once applications are received by UndocuFund, all information will be reviewed and verified before funds are dispersed.\u003c/p>\n\u003cp>Other community organizations in the area have also started funding programs for immigrants, including \u003ca href=\"https://www.ciyja.org/caliimmfirefunds\" target=\"_blank\" rel=\"noopener\">California Immigrant Youth Justice Alliance: Northern California Affiliate\u003c/a>, \u003ca href=\"https://latino-community-foundation.networkforgood.com/projects/38583-northern-california-fires-relie\" target=\"_blank\" rel=\"noopener\">Latino Community Foundation\u003c/a>, \u003ca href=\"http://www.laluzcenter.org/\" target=\"_blank\" rel=\"noopener\">La Luz Center\u003c/a>, and the \u003ca href=\"https://www.calbarfoundation.org/\" target=\"_blank\" rel=\"noopener\">California Bar Foundation\u003c/a>.\u003c/p>\n\u003cp>And while support of the various funds has been positive, Medina points out that rental assistance won’t do much good if there aren’t available rentals.\u003c/p>\n\u003ch2>Another Marin?\u003c/h2>\n\u003cp>An estimated 4,600 homes were destroyed by the Tubbs Fire in and around Santa Rosa alone, and another 10,000 residential properties were damaged countywide, leaving a reported 5-percent decrease in housing in a region that has already been stretched beyond its means for available residential property.\u003c/p>\n\u003cp>According to \u003ca href=\"http://sonomaedb.org/WorkArea/DownloadAsset.aspx?id=2147539181\" target=\"_blank\" rel=\"noopener\">a report published by the Sonoma County Economic Development Board in April 2017\u003c/a>, rental vacancy rates in 2015 were at 1.8 percent and the homeowner vacancy rate was at a mere 1 percent. Rents have increased by 45 percent in the past five years, creating additional housing barriers in a region plagued by a housing crisis and a growing homeless population.\u003c/p>\n\u003cfigure id=\"attachment_13814062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814062\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0127-800x533.jpg\" alt=\"(Left to right) Graton Day Labor Center program director Emilia Carbajal attends the North Bay Organizing Project Issues Assembly in Santa Rosa with program organizers Luis Avila Cruz and Jazmin Gudino Mendoza on Sunday, Nov. 5. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Graton Day Labor Center program director Emilia Carbajal attends the North Bay Organizing Project Issues Assembly in Santa Rosa with program organizers Luis Avila Cruz and Jazmin Gudino Mendoza on Sunday, Nov. 5. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The topic of available and affordable housing has been a contentious one in Sonoma County. Earlier in 2017, the North Bay Organizing Project campaigned for \u003ca href=\"https://www.fairandaffordablesantarosa.com/\" target=\"_blank\" rel=\"noopener\">Measure C\u003c/a>, which would have reinstated rent control and just-cause eviction rules previously enacted by Santa Rosa’s city council. But the measure only received 47 percent of the vote and was defeated after the opposition garnered more than $800,000 in donations, by far the highest amount raised for a political campaign in Sonoma County, mostly from outside realtors and apartment owners associations aiming to fight rent stabilization.\u003c/p>\n\u003cp>“While I don’t think Measure C was the ultimate answer, it was definitely a step in the right direction,” says Ventura. “An unfortunate step that had to be taken because we were seeing landlords unfairly evicting people, and unnecessarily raising rents… I bring that up because now, as people say, ‘What are we going to do about these rents?’ Like, we would have had a solution, and I don’t think it’s completely not an option anymore.”\u003c/p>\n\u003cp>Housing advocates hope that \u003ca href=\"http://sonomacounty.ca.gov/Public-Safety/News/Frequently-Asked-Questions-About-Price-Gouging-During-Disasters/\" target=\"_blank\" rel=\"noopener\">California’s anti-price gouging statute\u003c/a> — which prohibits increases of more that 10 percent on the price of many consumer goods and services, including rent, after an emergency has been declared — will help stabilize the scarce housing market during disaster recovery in Santa Rosa. The statute may stay in effect for up to 180 days after Governor Brown’s official declaration of emergency on Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_13814066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0562-800x533.jpg\" alt=\"North Bay Jobs for Justice Lead organizer Mara Ventura takes a business call at her office in Downtown Santa Rosa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">North Bay Jobs for Justice Lead organizer Mara Ventura takes a business call at her office in Downtown Santa Rosa. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 24, the \u003ca href=\"http://sonomacounty.ca.gov/Board-of-Supervisors/\" target=\"_blank\" rel=\"noopener\">Sonoma County Board of Supervisors\u003c/a> approved urgency ordinances to suspend new vacation rental permits for 45 days, and agreed to temporarily allow travel trailers and other recreational vehicles to serve as housing where septic services are available, as well as converted garages and other units without kitchens. The board also approved an extension on seasonal farm worker housing from 180 days to 365 days a year, which may provide some relief for many of the area’s immigrant workers. Additionally, the county voted in early November to allow \u003ca href=\"http://sonomacounty.ca.gov/Public-Safety/Press-Releases/FEMA-Temporary-Housing-Units-Coming/\" target=\"_blank\" rel=\"noopener\">temporary emergency housing\u003c/a> — in the form of travel trailers, mobile homes and tiny houses — at the Sonoma County Fairgrounds in Santa Rosa for up to two years.\u003c/p>\n\u003cp>Still, Ventura doesn’t think it is enough.\u003c/p>\n\u003cp>“I think we’d like to still see our city council or our board of supervisors to consider a rent moratorium,” Ventura says. Beyond the 10-percent mark for price gouging, Ventura says, even “1 percent is not acceptable,” she says. “You should not be raising rents unless it’s directly related to a cost you had to incur.”\u003c/p>\n\u003cp>Lubin agrees that issues of affordable housing and low vacancy rates have affected immigrant workers in Sonoma County for years; the fire only exacerbated the problem. But with that population growing, Lubin imagines a future for Sonoma County that’s eerily similar to that of Marin County, to the south.\u003c/p>\n\u003cp>“We could lose residents in the long run,” Lubin says, “and become a commuter county for low-wage workers.”\u003c/p>\n\u003cfigure id=\"attachment_13814056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0091-800x533.jpg\" alt=\"Irma Garcia introduces the North Bay Rapid Response Network, an emergency 24-hour hotline to support undocumented members of the community in case of an ICE raid, and shares her story as an undocumented mother of two at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irma Garcia introduces the North Bay Rapid Response Network, an emergency 24-hour hotline to support undocumented members of the community in case of an ICE raid, and shares her story as an undocumented mother of two at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Temporary support\u003c/h2>\n\u003cp>Ventura points out that immigrant families already faced many variables before the fires. Even rain can put an undocumented or immigrant family behind in rent if it creates a barrier for them to get to work on time.\u003c/p>\n\u003cp>And while programs like UndocuFund can provide temporary financial support, it is hard to estimate what long-term solutions can be put in place to support the undocumented community.\u003c/p>\n\u003cp>“I think that the frustrating part for me,” adds Castillo, “is that a lot of the issues that we are facing right now are issues that we have had for a long time: access to good education, access to mental health, access to adequate housing, access to a living wage. These are all the issues that we’ve had to deal with for a long time, but situations like this fire just makes it even harder for the undocumented community.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "No houses to clean, no yards to landscape — in wine country's immigrant community, domestic workers rather than vineyard laborers face the biggest struggles after the fires.\r\n",
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"title": "For Undocumented Workers, an Uphill Journey After the Fires | KQED",
"description": "No houses to clean, no yards to landscape — in wine country's immigrant community, domestic workers rather than vineyard laborers face the biggest struggles after the fires.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The national media calls them the “wine country fires” — the destructive fires in Sonoma and Napa Counties which decimated thousands of homes and businesses in October.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/up-from-the-ashes/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13813910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg\" alt=\"\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Ashes2-400x400px-2-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>But to understand the fires’ impact on the immigrant community, the “wine country” description only tells part of the story. Of the roughly 28,000 undocumented immigrants who live and work in Sonoma County, some laborers who worked at affected vineyards after the fires had \u003ca href=\"https://www.usatoday.com/story/money/business/2017/10/11/napa-fires-rage-wineries-face-singed-grapes-displaced-workers-and-costs-rebuilding/751267001/\" target=\"_blank\" rel=\"noopener\">fewer or no grapes\u003c/a> to pick; others \u003ca href=\"https://www.winebusiness.com/news/?go=getArticle&dataid=190974\" target=\"_blank\" rel=\"noopener\">picked what was left in the vineyards without masks\u003c/a>, prompting an advisory from the state Occupational Safety and Health Administration.\u003c/p>\n\u003cp>An even larger population of immigrants utilized widely throughout the county are the undocumented domestic workers — house cleaners, landscapers, and pool cleaners — who relied on employment at large homes in the upper-class hillside neighborhoods of Fountaingrove, the Foothills, and elsewhere.\u003c/p>\n\u003cp>Nearly all of those homes no longer exist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local immigrant advocates predict that domestic workers, and not vineyard workers, will face the biggest challenges rebuilding their lives after the fires. In addition to maid services, landscapers, and house cleaners having far fewer houses to clean and maintain, other longstanding issues of housing and assistance for Sonoma County’s undocumented population have been exacerbated by the fires.\u003c/p>\n\u003ch2>Anecdotal hazards\u003c/h2>\n\u003cp>Amid rumors of ICE agents’ presence at local evacuation centers, many undocumented immigrants left the county during the disaster. Already facing lost wages because of evacuation, many were dealt an added blow when they discovered that they were no longer employed.\u003c/p>\n\u003cp>Mario Castillo, who manages the \u003ca href=\"https://springshall.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Springs Community Hall\u003c/a> and works as a community resource navigator for the First Congregational Church in the Sonoma Valley area, witnessed immediate challenges for local domestic workers. The community hall, about 20 miles east of Santa Rosa, has been open daily for lunches, serving thousands of people since the fires started last month.\u003c/p>\n\u003cfigure id=\"attachment_13814059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0118-800x533.jpg\" alt=\"Sonoma Valley community organizer Mario Castillo posts a gold sticker to vote in support of immigration policy at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0118-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonoma Valley community organizer Mario Castillo posts a gold sticker to vote in support of immigration policy at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of families have lost their jobs because their employers were not able to go back to their business for whatever reason,” says Castillo. “So they found themselves not only losing income during the time that the fires were happening but also after.”\u003c/p>\n\u003cp>Homes and businesses where many worked as house cleaners were destroyed in the fires, Castillo says. Other workers were asked to do labor in hazardous conditions, cleaning or picking grapes without adequate respiratory protection.\u003c/p>\n\u003cp>A week into the three-week blaze, Castillo met six women — one of whom lost her house and family dog in the Nuns-Partrick fire — who worked as housekeepers in a local hotel. They had just returned to the area after evacuating to shelters in nearby towns. The women were upset about being asked to do major cleaning at the business, which had hazardous smoke damage. Castillo stepped in to mediate.\u003c/p>\n\u003cp>“I called the manager, called the owners and managed to get them a meeting so that they could talk about what was happening,” says Castillo. “Later, I found out that the owner of the hotel laid them off.”\u003c/p>\n\u003cp>“It’s been very, very traumatic, very stressful, very difficult,” adds Castillo.\u003c/p>\n\u003cp>Ten miles west of Santa Rosa, \u003ca href=\"http://www.gratondaylabor.org/\" target=\"_blank\" rel=\"noopener\">Centro Laboral de Graton\u003c/a> (the Graton Day Labor Center) connects day laborers, including a large number of domestic workers, with employment at their worker pick-up site. The center also sponsors ALMAS, a domestic worker organizing project. Christy Lubin, the center’s executive director, says the impact on domestic workers is difficult to calculate because domestic workers are a part of the casual economy, and work behind closed doors.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘A lot of folks worked up in the Fountaingrove area… they don’t know what they’re going to do now that the homes they clean, or the pools they clean, or the landscaping work that they do is no more.’ \u003ccite>Mara Ventura\u003c/cite>\u003c/aside>\n\u003cp>Megan Weber of the \u003ca href=\"http://www.cadomesticworkers.org/\" target=\"_blank\" rel=\"noopener\">California Domestic Workers Coalition\u003c/a> says that there were more than 4,000 domestic workers in Sonoma County in 2013, a number that has surely grown in recent years but is hard to collect current data for because of the nature of domestic workers’ casual employment. She points to a 2016 UCLA Labor Center study that shows house cleaners make up more than 50 percent of the domestic labor market statewide.\u003c/p>\n\u003cp>“The need for data is critical, and many people are grasping for numbers,” says Lubin.\u003c/p>\n\u003cp>Despite this lack of data — which is crucial for accessing job loss for the undocumented community — Lubin has witnessed a dire impact on some of the laborers at the center.\u003c/p>\n\u003cp>“A huge number of the houses that burned down were in exclusive neighborhoods. I spoke with one woman who has a crew of five and they lost 20 jobs from the fire,” says Lubin. “On top of losing jobs due to the fire, some have lost homes and possessions, and others are caring for family members who did lose homes.”\u003c/p>\n\u003cp>Lubin says that many of the women that have returned to work are facing hazardous scenarios similar to those Castillo saw in Glen Ellen.\u003c/p>\n\u003cp>“Domestic workers are cleaning homes that did not burn but suffered smoke damage. Special companies come in to do smoke damage cleanup, then the homeowners have domestic workers do a final clean before they move back in,” says Lubin. “No one really knows what chemicals were used to remove the smoke damage.” Lubin further questions if domestic workers are supplied with protective equipment, or are trained about the potential risks of cleaning these houses.\u003c/p>\n\u003ch2>No access to FEMA\u003c/h2>\n\u003cp>According to Mara Ventura, Lead Organizer at \u003ca href=\"http://www.northbayjobswithjustice.org/\" target=\"_blank\" rel=\"noopener\">North Bay Jobs with Justice\u003c/a>, a Santa Rosa-based labor and immigrant rights coalition, loss of wages from time away from work and permanent job loss are the biggest issues for the immigrant community after the fires.\u003c/p>\n\u003cp>“We have, of course, the Coffey Park neighborhood, that had a lot of homes where two to three families were living in them, more middle classes, and also our lower income migrant families,” says Ventura. “Another problem is that a lot of folks worked up in the Fountaingrove area, and lots of them worked at the businesses that were lost. They don’t know what they’re going to do now that the homes they clean, or the pools they clean, or the landscaping work that they do is no more,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_13814065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0552-800x533.jpg\" alt=\"North Bay Jobs for Justice lead organizer Mara Ventura sits outside of her office in downtown Santa Rosa. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0552-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">North Bay Jobs for Justice lead organizer Mara Ventura sits outside of her office in downtown Santa Rosa. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A \u003ca href=\"http://sonomaedb.org/WorkArea/DownloadAsset.aspx?id=2147539271\" target=\"_blank\" rel=\"noopener\">recent report\u003c/a> shows that Sonoma County has the largest Latino population in the North Bay region. Ventura says that this population has the highest number of adults who are \u003ca href=\"https://www.merriam-webster.com/dictionary/underemployment\" target=\"_blank\" rel=\"noopener\">underemployed\u003c/a>, working part-time hours and working for rates of $10 per hour (minimum wage) or below.\u003c/p>\n\u003cp>“Many of them work multiple jobs. The impact of the fires, for many of them, have been loss of wages for a week or two, and it could impact their family, and will for months, when they’re living paycheck to paycheck,” says Ventura. “We’re really concerned about the rains coming, and the floods coming, and what plans people are making in the long-term.”\u003c/p>\n\u003cp>With disaster funds from FEMA allocated strictly to U.S. citizens, undocumented residents have fewer options for financial support. In mid-October, the \u003ca href=\"https://ww2.kqed.org/news/2017/10/24/mexican-government-steps-in-to-help-wildfire-victims/\" target=\"_blank\" rel=\"noopener\">Mexican consulate stepped in\u003c/a>, offering help with locating missing people, document recovery and referrals to housing or shelter and psychological services. At the consulate’s two-day drop-in site in the Roseland neighborhood of Santa Rosa, all financial needs were assessed on a case-by-case basis. At that point, the fires had been burning, still widely uncontained, for 10 days.\u003c/p>\n\u003ch2>Grassroots assistance\u003c/h2>\n\u003cp>Before the Mexican consulate showed up, however, Latino-led community organizations began laying the ground work for financial assistance.\u003c/p>\n\u003cp>The \u003ca href=\"http://undocufund.org/\" target=\"_blank\" rel=\"noopener\">UndocuFund\u003c/a> program, a collaborative effort between North Bay Jobs with Justice, \u003ca href=\"http://northbayop.org/\" target=\"_blank\" rel=\"noopener\">North Bay Organizing Project\u003c/a> and the Graton Day Labor Center, aims to fill the financial gaps left by lost wages. The groups came together quickly to get UndocuFund up and running; by the fourth day of the fires, UndocuFund had a bank account and support from the \u003ca href=\"https://www.gcir.org/\" target=\"_blank\" rel=\"noopener\">Grantmakers Concerned for Immigrants and Refugees\u003c/a> to administer funds.\u003c/p>\n\u003cp>A website with its mission to “provide direct funding to undocumented immigrants in Sonoma County and their families to help with expenses incurred directly as a result of the fires” was live, and donations started rolling in. To date, UndocuFund has raised nearly $1 million.\u003c/p>\n\u003cfigure id=\"attachment_13815509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815509\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/GratonDayLabor-800x533.jpg\" alt=\"The Graton Day Labor Center in West Sonoma County.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/GratonDayLabor.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Graton Day Labor Center in West Sonoma County. \u003ccite>(Courtesy Graton Day Labor Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Omar Medina says that within the first week, \u003ca href=\"https://californiahumandevelopment.org/\" target=\"_blank\" rel=\"noopener\">California Human Development\u003c/a> in Santa Rosa identified 400 families who needed immediate assistance and who wouldn’t otherwise qualify for government-based services due to their immigration status. Medina, treasurer at the North Bay Organizing Project and a volunteer with UndocuFund, says that on-the-ground reporting has been key as well.\u003c/p>\n\u003cp>“We gathered a group of undocumented folks and family members also impacted and asked them, ‘What are you going through? What are you seeing? What are you hearing from your community?’,” says Medina.\u003c/p>\n\u003cp>From his initial assessment, his findings echoed what Ventura was hearing: financial support for rental assistance or first-month deposits were the biggest needs. Applicants will receive help with paperwork through community partner organizations and application clinics, and once applications are received by UndocuFund, all information will be reviewed and verified before funds are dispersed.\u003c/p>\n\u003cp>Other community organizations in the area have also started funding programs for immigrants, including \u003ca href=\"https://www.ciyja.org/caliimmfirefunds\" target=\"_blank\" rel=\"noopener\">California Immigrant Youth Justice Alliance: Northern California Affiliate\u003c/a>, \u003ca href=\"https://latino-community-foundation.networkforgood.com/projects/38583-northern-california-fires-relie\" target=\"_blank\" rel=\"noopener\">Latino Community Foundation\u003c/a>, \u003ca href=\"http://www.laluzcenter.org/\" target=\"_blank\" rel=\"noopener\">La Luz Center\u003c/a>, and the \u003ca href=\"https://www.calbarfoundation.org/\" target=\"_blank\" rel=\"noopener\">California Bar Foundation\u003c/a>.\u003c/p>\n\u003cp>And while support of the various funds has been positive, Medina points out that rental assistance won’t do much good if there aren’t available rentals.\u003c/p>\n\u003ch2>Another Marin?\u003c/h2>\n\u003cp>An estimated 4,600 homes were destroyed by the Tubbs Fire in and around Santa Rosa alone, and another 10,000 residential properties were damaged countywide, leaving a reported 5-percent decrease in housing in a region that has already been stretched beyond its means for available residential property.\u003c/p>\n\u003cp>According to \u003ca href=\"http://sonomaedb.org/WorkArea/DownloadAsset.aspx?id=2147539181\" target=\"_blank\" rel=\"noopener\">a report published by the Sonoma County Economic Development Board in April 2017\u003c/a>, rental vacancy rates in 2015 were at 1.8 percent and the homeowner vacancy rate was at a mere 1 percent. Rents have increased by 45 percent in the past five years, creating additional housing barriers in a region plagued by a housing crisis and a growing homeless population.\u003c/p>\n\u003cfigure id=\"attachment_13814062\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814062\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0127-800x533.jpg\" alt=\"(Left to right) Graton Day Labor Center program director Emilia Carbajal attends the North Bay Organizing Project Issues Assembly in Santa Rosa with program organizers Luis Avila Cruz and Jazmin Gudino Mendoza on Sunday, Nov. 5. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0127-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Graton Day Labor Center program director Emilia Carbajal attends the North Bay Organizing Project Issues Assembly in Santa Rosa with program organizers Luis Avila Cruz and Jazmin Gudino Mendoza on Sunday, Nov. 5. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The topic of available and affordable housing has been a contentious one in Sonoma County. Earlier in 2017, the North Bay Organizing Project campaigned for \u003ca href=\"https://www.fairandaffordablesantarosa.com/\" target=\"_blank\" rel=\"noopener\">Measure C\u003c/a>, which would have reinstated rent control and just-cause eviction rules previously enacted by Santa Rosa’s city council. But the measure only received 47 percent of the vote and was defeated after the opposition garnered more than $800,000 in donations, by far the highest amount raised for a political campaign in Sonoma County, mostly from outside realtors and apartment owners associations aiming to fight rent stabilization.\u003c/p>\n\u003cp>“While I don’t think Measure C was the ultimate answer, it was definitely a step in the right direction,” says Ventura. “An unfortunate step that had to be taken because we were seeing landlords unfairly evicting people, and unnecessarily raising rents… I bring that up because now, as people say, ‘What are we going to do about these rents?’ Like, we would have had a solution, and I don’t think it’s completely not an option anymore.”\u003c/p>\n\u003cp>Housing advocates hope that \u003ca href=\"http://sonomacounty.ca.gov/Public-Safety/News/Frequently-Asked-Questions-About-Price-Gouging-During-Disasters/\" target=\"_blank\" rel=\"noopener\">California’s anti-price gouging statute\u003c/a> — which prohibits increases of more that 10 percent on the price of many consumer goods and services, including rent, after an emergency has been declared — will help stabilize the scarce housing market during disaster recovery in Santa Rosa. The statute may stay in effect for up to 180 days after Governor Brown’s official declaration of emergency on Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_13814066\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814066\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0562-800x533.jpg\" alt=\"North Bay Jobs for Justice Lead organizer Mara Ventura takes a business call at her office in Downtown Santa Rosa.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0562-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">North Bay Jobs for Justice Lead organizer Mara Ventura takes a business call at her office in Downtown Santa Rosa. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 24, the \u003ca href=\"http://sonomacounty.ca.gov/Board-of-Supervisors/\" target=\"_blank\" rel=\"noopener\">Sonoma County Board of Supervisors\u003c/a> approved urgency ordinances to suspend new vacation rental permits for 45 days, and agreed to temporarily allow travel trailers and other recreational vehicles to serve as housing where septic services are available, as well as converted garages and other units without kitchens. The board also approved an extension on seasonal farm worker housing from 180 days to 365 days a year, which may provide some relief for many of the area’s immigrant workers. Additionally, the county voted in early November to allow \u003ca href=\"http://sonomacounty.ca.gov/Public-Safety/Press-Releases/FEMA-Temporary-Housing-Units-Coming/\" target=\"_blank\" rel=\"noopener\">temporary emergency housing\u003c/a> — in the form of travel trailers, mobile homes and tiny houses — at the Sonoma County Fairgrounds in Santa Rosa for up to two years.\u003c/p>\n\u003cp>Still, Ventura doesn’t think it is enough.\u003c/p>\n\u003cp>“I think we’d like to still see our city council or our board of supervisors to consider a rent moratorium,” Ventura says. Beyond the 10-percent mark for price gouging, Ventura says, even “1 percent is not acceptable,” she says. “You should not be raising rents unless it’s directly related to a cost you had to incur.”\u003c/p>\n\u003cp>Lubin agrees that issues of affordable housing and low vacancy rates have affected immigrant workers in Sonoma County for years; the fire only exacerbated the problem. But with that population growing, Lubin imagines a future for Sonoma County that’s eerily similar to that of Marin County, to the south.\u003c/p>\n\u003cp>“We could lose residents in the long run,” Lubin says, “and become a commuter county for low-wage workers.”\u003c/p>\n\u003cfigure id=\"attachment_13814056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814056\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/MG_0091-800x533.jpg\" alt=\"Irma Garcia introduces the North Bay Rapid Response Network, an emergency 24-hour hotline to support undocumented members of the community in case of an ICE raid, and shares her story as an undocumented mother of two at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/MG_0091-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Irma Garcia introduces the North Bay Rapid Response Network, an emergency 24-hour hotline to support undocumented members of the community in case of an ICE raid, and shares her story as an undocumented mother of two at the North Bay Organizing Project Issues Assembly in Santa Rosa on Sunday, Nov. 5. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Temporary support\u003c/h2>\n\u003cp>Ventura points out that immigrant families already faced many variables before the fires. Even rain can put an undocumented or immigrant family behind in rent if it creates a barrier for them to get to work on time.\u003c/p>\n\u003cp>And while programs like UndocuFund can provide temporary financial support, it is hard to estimate what long-term solutions can be put in place to support the undocumented community.\u003c/p>\n\u003cp>“I think that the frustrating part for me,” adds Castillo, “is that a lot of the issues that we are facing right now are issues that we have had for a long time: access to good education, access to mental health, access to adequate housing, access to a living wage. These are all the issues that we’ve had to deal with for a long time, but situations like this fire just makes it even harder for the undocumented community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tambor May Leave 'Transparent' Amid Harassment Allegations",
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"content": "\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor has announced he may be leaving the hit Amazon series after two women accused him of sexual harassment.\u003c/p>\n\u003cp>Tambor continues to deny the allegations leveled this month by one of his co-stars on the show and by his former assistant. But the actor intimated his departure from the show, in a statement provided to NPR, due to a recent “politicized atmosphere” on the set.\u003c/p>\n\u003cblockquote>\n\u003cp>“Playing Maura Pfefferman on ‘Transparent’ has been one of the greatest privileges and creative experiences of my life,” Tambor said. “What has become clear over the past weeks, however, is that this is no longer the job I signed up for four years ago. I’ve already made clear my deep regret if any action of mine was ever misinterpreted by anyone as being aggressive, but the idea that I would deliberately harass anyone is simply and utterly untrue. Given the politicized atmosphere that seems to have afflicted our set, I don’t see how I can return to ‘Transparent.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"http://deadline.com/2017/11/jeffrey-tambor-sexual-harassment-claims-amazon-1202204220/\" target=\"_blank\" rel=\"noopener\">According to Deadline\u003c/a>, which first broke the news on Sunday, the first allegation against Tambor was made by his former assistant and transgender actress Van Barnes. In a private Facebook post earlier this month, Barnes claimed her former boss, without naming Tambor, had sexually harassed and groped her, prompting Amazon Studios officials to open an investigation into the matter.\u003c/p>\n\u003cp>Just more than a week later, his transgender co-star Trace Lysette \u003ca href=\"https://twitter.com/tracelysette/status/931366076209799168\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> that Tambor “made many sexual advances and comments at me, but one time it got physical.” She proceeds to describe an instance in which he pressed up against the actress and “began quick, discreet thrusts back and forth” against her, in between filming.\u003c/p>\n\u003cp>In response to the allegations, Tambor admitted he “can be volatile and ill-tempered … But I have never been a predator – ever.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When news dropped of the network’s investigation, \u003ca href=\"http://deadline.com/2017/11/house-of-cards-transparent-wisdom-of-the-crowd-harassment-scandals-future-limbo-1202205041/\" target=\"_blank\" rel=\"noopener\">Deadline reports\u003c/a> that \u003cem>Transparent \u003c/em>writers considered writing Tambor’s central character Maura out of the upcoming fifth season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, Tambor has yet to officially quit the show. A source close to the show says no final decision about next season has been made by Tambor or Amazon. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Jeffrey+Tambor+May+Be+Leaving+%27Transparent%27+Amid+Sexual+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"I don't see how I can return,\" said the star of the hit show. As Amazon investigates the two allegations, both of which he denies, no official decision has been made by either Tambor or the network.",
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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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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"onourwatch": {
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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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"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
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