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"content": "\u003cp>Museums around the world are split on the selfie, often banning selfie sticks — fearing the damage that a \u003ca href=\"https://www.nytimes.com/2017/07/14/arts/design/oops-a-museum-selfie-gone-wrong-causes-200000-in-damage.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">careless, self-absorbed patron might cause to the artwork\u003c/a> — but encouraging hand-held selfies to entice Instagram-happy millennials. Now comes an exhibit that encourages a more creative approach. \u003cem>This is Not a Selfie\u003c/em>, running through Jan. 14 at the \u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art \u003c/a>, features artists who played with self-portraits long before “selfie” was ever a word: Cindy Sherman, William Wegman, Diane Arbus and many more.\u003c/p>\n\u003cfigure id=\"attachment_13807885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg\" alt=\"Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\" width=\"640\" height=\"895\" class=\"size-large wp-image-13807885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-800x1118.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-375x524.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-520x727.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k.jpg 1465w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Museum Associate Curator Rory Padeken notes that the photographers in the show generally created self-portraits that are not a reflection of who they are but how they think about the world. “It moves beyond the artist as the self to talk about things like politics or about gender identity. The artists are sort of using their body to talk about the larger social issues of our time.“ Yet even as the show celebrates these thoughtful self-portraits, it offers a couple of selfie stations where visitors can make their own self-portraits, post them on Instagram, and get them displayed in the exhibit. Art-making has never been this easy. \u003ca href=\"http://sjmusart.org/exhibition/not-selfie-photographic-self-portraits-audrey-and-sydney-irmas-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13808356\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg\" alt=\"Cy's selfie at the San Jose Museum of Art show 'This is Not a Selfie'\" width=\"719\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-520x322.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">Cy’s selfie at the San Jose Museum of Art show ‘This is Not a Selfie’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Museums around the world are split on the selfie, often banning selfie sticks — fearing the damage that a \u003ca href=\"https://www.nytimes.com/2017/07/14/arts/design/oops-a-museum-selfie-gone-wrong-causes-200000-in-damage.html?_r=0\" target=\"_blank\" rel=\"noopener noreferrer\">careless, self-absorbed patron might cause to the artwork\u003c/a> — but encouraging hand-held selfies to entice Instagram-happy millennials. Now comes an exhibit that encourages a more creative approach. \u003cem>This is Not a Selfie\u003c/em>, running through Jan. 14 at the \u003ca href=\"http://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art \u003c/a>, features artists who played with self-portraits long before “selfie” was ever a word: Cindy Sherman, William Wegman, Diane Arbus and many more.\u003c/p>\n\u003cfigure id=\"attachment_13807885\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg\" alt=\"Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\" width=\"640\" height=\"895\" class=\"size-large wp-image-13807885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1020x1426.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-800x1118.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-768x1074.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-1180x1650.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-960x1342.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-375x524.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k-520x727.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/36007871055_758602c5ec_k.jpg 1465w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nadar (Gaspard-Félix Tournachon), Self-Portrait in Indian Costume, circa 1863 Nadar (Gaspard-Félix Tournachon) Self-Portrait in Indian Costume, circa 1863 Albumen silver print 6 1/8 x 4 1/16 inches Los Angeles County of Art photo @ Museum Associates/LACMA\u003c/figcaption>\u003c/figure>\n\u003cp>San Jose Museum Associate Curator Rory Padeken notes that the photographers in the show generally created self-portraits that are not a reflection of who they are but how they think about the world. “It moves beyond the artist as the self to talk about things like politics or about gender identity. The artists are sort of using their body to talk about the larger social issues of our time.“ Yet even as the show celebrates these thoughtful self-portraits, it offers a couple of selfie stations where visitors can make their own self-portraits, post them on Instagram, and get them displayed in the exhibit. Art-making has never been this easy. \u003ca href=\"http://sjmusart.org/exhibition/not-selfie-photographic-self-portraits-audrey-and-sydney-irmas-collection\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13808356\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13808356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg\" alt=\"Cy's selfie at the San Jose Museum of Art show 'This is Not a Selfie'\" width=\"719\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Cys-selfie-at-the-San-Jose-Museum-of-Art-show-This-is-Not-a-Selfie-520x322.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">Cy’s selfie at the San Jose Museum of Art show ‘This is Not a Selfie’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "another-look-at-hanoi-jane-vietnam-and-celebrity-activism",
"title": "Another Look at 'Hanoi Jane,' Vietnam, and Celebrity Activism",
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"content": "\u003cp>\u003ci>“I have spent the last two years working with GIs and Vietnam veterans, and have spoken in front of hundreds of thousands of anti-war protesters, telling them that our men in uniform aren’t the enemy. Now by mistake, I appear in a photograph to be their enemy. I carry this heavy in my heart. I always will.” — \u003cstrong>Jane Fonda\u003c/strong>\u003c/i>\u003c/p>\n\u003cp>Confronting the images of popular culture and deconstructing their myths is what drives \u003ca href=\"http://www.youmustrememberthispodcast.com/\">\u003ci>You Must Remember This\u003c/i>\u003c/a> (YMRT), the acclaimed podcast by film historian Karina Longworth. The show lays bare “the secret and/or forgotten histories of Hollywood’s first century” and, over the course of 100 episodes, Longworth repeatedly revisits stories from the Golden Age of Film that were once considered gospel and turns the narrative on its head — like the tale of “Hanoi Jane” Fonda. \u003c/p>\n\u003cp>As images go, the photograph of actress and activist Jane Fonda sitting astride a North Vietnamese anti-aircraft gun during the Vietnam War is indelible, and it’s one that Longworth examines at length in ‘Jean and Jane,’ a 9-episode season of YMRT. A deep dive into the storied lives of two movie stars, the season follows these women’s fortunes as they intersect and diverge down the decades from the 1950s onward, culminating in Fonda’s reinvention as the \u003ca href=\"https://www.janefonda.com/workout/\" target=\"_blank\" rel=\"noopener\">first queen of home fitness\u003c/a>, and Seberg’s \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Seberg\" target=\"_blank\" rel=\"noopener\">tragic decline and death\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=deKHYCsjseg\u003c/p>\n\u003cp>Throughout the season, Longworth identifies several similarities between these two women. They both start as consistently underestimated blonde ingenues, they both make films with Jean-Luc Godard, and they both have professional and personal ties to France. Yet the fact that both actresses were “hounded” by the FBI as a result of their outspoken activism was, Longworth says, a major motivation for combining their narratives. Both Fonda and Seberg advocated for civil rights and supported the Black Panthers, and both were vilified by the media (at the behest of J. Edgar Hoover’s FBI). But Fonda became a target for right-wing ire after she aligned herself with the anti-Vietnam war movement, and the “Hanoi Jane” image would haunt Fonda even to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ww2.kqed_.orgTheVietnamWar_web-banners-8e41141478cf5fd9f2d0ea4bb13e8ea52dd8bf00.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13808215\">\u003c/a>\u003c/p>\n\u003cp>Beyond that iconic photograph, the details of Jane Fonda’s anti-Vietnam War activism aren’t widely remembered in 2017. Longworth herself says that before entering the exhaustive research phase for ‘Jean and Jane,’ she only “knew what a lot of people think they know — which is, ‘that she did something \u003ci>really bad\u003c/i> in Vietnam that some people have never forgiven her for.’” Those unfamiliar with the extent of Fonda’s involvement in the anti-war movement could be forgiven for assuming that the extent of her involvement was that fateful 1972 trip to Vietnam where she climbed on top of a North Vietnamese gun.\u003c/p>\n\u003cp>But as ‘Jean and Jane’ makes clear, Fonda’s fight against the Vietnam War went far deeper than the popular image. She was no part-time activist, effectively placing her career on hold just after 1969’s Academy Award-winning \u003ci>They Shoot Horses, Don’t They?\u003c/i> to dedicate herself to the cause. Fonda later said that her desire to learn about social causes was sparked after seeing a magazine with a Native American activist on the cover, accompanied by the words “Red Power.” \u003c/p>\n\u003cfigure id=\"attachment_13808309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg\" alt=\"Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda's trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \" width=\"800\" height=\"520\" class=\"size-medium wp-image-13808309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda’s trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recognition of her hitherto-charmed life as the talented, privileged daughter of actor Henry Fonda, Fonda said later that “it took a moment in history where millions of people were changing to show me that there was another way to be.” At that time she was interested in a number of causes, including the civil rights movement, the rise of the Black Panthers, the Native American struggle — the latter of which inspired a 1970 visit to Alcatraz Island during its occupation by Native American protesters. But it wouldn’t be long before Fonda focused all her energy on the growing anti-war movement. \u003c/p>\n\u003cp>Fonda’s evolution into political activist coincided with a period of personal reinvention away the conventionally alluring, sex-kittenish persona she cultivated in movies like \u003cem>Barbarella\u003c/em> and toward an entirely new image. This new-look Fonda had short hair, defiantly unglamorous clothes and minimal makeup — a seismic shift that Longworth calls “symbolic in the culture.” In the anti-war cause and in this new guise, Longworth explains, Fonda “found her identity as an activist” — one that she would ultimately “find impossible to shake.” \u003c/p>\n\u003cp>At first, Fonda worked to remedy her lack of understanding of the war. She went on her own version of a fact-finding tour: speaking with the enlisted men she encountered during her time in the “G.I. coffeehouses” that had sprung up around military bases. \u003c/p>\n\u003cp>“I was just realizing that this war was going on and I didn’t know anything about it. I didn’t even know where Vietnam was,” Fonda recalled later.\u003c/p>\n\u003cfigure id=\"attachment_13808310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg\" alt=\"Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13808310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-520x316.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Photo’s Permanent Damage\u003c/h2>\n\u003cp>In 1972, Fonda traveled to Hanoi to witness the war’s destruction. Her North Vietnamese hosts insisted the actress visit an anti-aircraft installation — a request she agreed to, recounts Longworth in her podcast, out of politeness to those who had treated her well thus far. After a boozy luncheon with some reporters, Fonda’s hosts placed a helmet on her head and suggested she climb into the seat of an anti-aircraft gun, to much laughter.\u003c/p>\n\u003cp>She was “up there less than a minute,” recounts Longworth — but as the surrounding journalists took pictures and film footage, Fonda realized instantaneously the magnitude of what she’d just done. She begged her translator to ensure the photos were destroyed, and was assured they would be. \u003c/p>\n\u003cp>It was, of course, too late. Fonda returned to the United States to screen the footage she filmed of war-torn Vietnam: footage that exposed the Nixon administration’s lies regarding the U.S. bombing in the area, which the president had promised to stop. But its impact was hobbled after the \u003cem>New York Post\u003c/em> ran the gun photo, accompanied by the now-immortal phrase “Hanoi Jane.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eBViVboG0Mk\u003c/p>\n\u003cp>“It wasn’t a \u003ci>smart thing\u003c/i> to be photographed on this gun,” Longworth said during an interview with KQED. “As much as you can say that she had good intentions, and that she actually did important work in terms of proving that some lies that the U.S. government were saying about the war were lies, she walked into a North Vietnamese publicity stunt. It was a mistake. And she said it was a mistake.”\u003c/p>\n\u003cfigure id=\"attachment_13808313\" class=\"wp-caption alignright\" style=\"max-width: 468px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/515305896.jpg\" alt=\"American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People.\" width=\"468\" height=\"594\" class=\"size-full wp-image-13808313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-375x476.jpg 375w\" sizes=\"(max-width: 468px) 100vw, 468px\">\u003cfigcaption class=\"wp-caption-text\">American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It didn’t take long for Fonda to admit publicly that she’d made a mistake, and she \u003ca href=\"http://www.hollywoodreporter.com/news/jane-fonda-regrets-vietnam-photo-764710\" target=\"_blank\" rel=\"noopener\">continues today\u003c/a> to express her regret over the picture and what it did to her work.\u003c/p>\n\u003cp>“I made it easy for the media to choose a dubious if not downright hostile lens through which to view me, pronouncing myself a revolutionary woman while \u003ci>Barbarella\u003c/i> had just played in a theater around the corner,” Fonda stated in a later interview. \u003c/p>\n\u003ch2>A ‘Gender Betrayal’ of Male Fantasy\u003c/h2>\n\u003cp>Early in ‘Jean and Jane’, Longworth draws the listener’s attention to a video online which crystallizes the sense of betrayal some still feel about Fonda’s transformation from sex kitten to anti-war activist. In it, images of Fonda in full \u003cem>Barbarella\u003c/em> garb appear with the words “What we wanted” — before being replaced by Fonda in her makeup-less protester role, and the words “What we got.”\u003c/p>\n\u003cp>It’s hard not to see the sheer vehemence of the anti-Fonda sentiment as saying a great deal about what men thought women — particularly famous women — were here to do, to look and to be. One thing they were not here to do: fiercely criticize the masculine sphere of war.\u003c/p>\n\u003cp>“This idea that she had this period, like, her most stringent as an activist was coinciding with her deliberate refusal to play into the male gaze, is obviously really interesting,” Longworth said. \u003c/p>\n\u003cp>The fantasy of womanhood peddled in movies like \u003ci>Barbarella\u003c/i> in the late 1960s was, Longworth says, “really convincing — and there wasn’t a lot of media that asked consumers of it to think about how they were being manipulated… So when [Fonda] very abruptly — or so it seemed to the public and the media — changed the way she looked and changed her stated ideology and even walked away from making movies so she could spend her whole day doing activism, I think that felt like a betrayal to the people who had bought into the sexual fantasy.”\u003c/p>\n\u003cp>Fonda herself was all too aware of this. \u003c/p>\n\u003cp>“I realize,” Fonda said, “that it is not just a U.S. citizen laughing and clapping on a Vietnamese anti-aircraft gun. I am Henry Fonda’s privileged daughter who appears to be thumbing my nose at the country that has provided me these privileges. More than that, I am a woman, which makes my sitting there even more of a betrayal. A gender betrayal. And I am a woman who is seen as \u003ci>Barbarella\u003c/i>, a character who exists on some subliminal level as an embodiment of men’s fantasies. Barbarella has become their enemy.”\u003c/p>\n\u003cfigure id=\"attachment_13808311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg\" alt=\"A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \" width=\"800\" height=\"495\" class=\"size-medium wp-image-13808311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Precursor to Today’s Celebrity-Political Complex\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>It’s this notion of betrayal — of femininity, of cultural expectation, of one’s country and its military mission against another nation — that continually resounds in Fonda’s story. Longworth won’t go so far as to equate Fonda’s criticism of the war with an implicit criticism of masculinity, but thinks that the actress, with her defiantly unglamorous look, “was an affront to masculinity in some ways.” \u003c/p>\n\u003cp>When a person — an actress, from a storied acting dynasty, no less — expresses political views, it’s as if every subsequent move, every statement that follows must be perfect, in a way that leaves no room for human error or moral complexity. Any misstep, and everything that’s come before, can be immediately invalidated. Perhaps it’s this degree of judgement and scrutiny that assuming a political platform invites which dissuades today’s stars from speaking out like Fonda did.\u003c/p>\n\u003cp>Social media, Longworth says, can dupe us into “the illusion we’re getting the ‘real stuff’” from our celebrities, when in reality “their personas and their personalities in the public space are so mediated and so protected. So I don’t think anybody’s really putting themselves out there like that.” The ones that do dare to express political leanings and notions are often mocked for it, she reminds me. Just look at Kanye West: “He’s so dismissed and so discredited, always. So… that kind of thing becomes so scary for [other stars]. They don’t want to even try to wade into those waters.”\u003c/p>\n\u003cfigure id=\"attachment_13808312\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-800x1063.jpg\" alt=\"Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \" width=\"800\" height=\"1063\" class=\"size-medium wp-image-13808312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s telling that when you when you ask most people to name any recent public figures that met with Fonda-level opprobrium for their activism, they’ll probably name the Dixie Chicks. In 2003, lead singer Natalie Maines’ outspoken comments on George W. Bush’s imminent invasion of Iraq (“We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas”) invoked a backlash that all but halted the band’s career — but in the 14 years since, have we really avoided more scandalous political stances? \u003c/p>\n\u003cp>Longworth is keen that we don’t forget current-day figures like Shailene Woodley, the young actress who was arrested protesting the Dakota Access Pipeline in 2016. But it’s been a long while since a star’s activism had a truly scarring impact on their career and reputation. When I ask if she can imagine one of today’s actors or actresses stumbling into an on-camera “Hanoi Jane” moment, Longworth is skeptical. \u003c/p>\n\u003cp>“I think that an equivalent person to Jane Fonda today would be too scared to do something like that,” she says. “I don’t see anyone putting themselves on the line like that. So they wouldn’t even risk a ‘two-minute lapse of sanity.’” \u003c/p>\n\u003cp>Later, in an email, Longworth drew my attention to \u003ca href=\"http://www.nationalreview.com/article/450827/miley-cyrus-weed-hillary-no-longer-preoccupations\" target=\"_blank\" rel=\"noopener\">an article in the conservative-leaning National Review\u003c/a> that casts an approving eye on the transformation of singer Miley Cyrus back into the country-loving, long-locked, unthreatening presence which defined the earlier years of her career. Equating Cyrus’s move away from pro-Clinton, anti-Trump political statements with her transition back to being “wholesome”, it notes how she appears “chastened by her ill-advised foray into lefty activism and the annoy-the-bourgeoisie gonzo aesthetic that went with it.”\u003c/p>\n\u003cp>This 24-year-old woman, it implies, has never been more attractive than when she finally abandoned all that politics stuff. Forty-five years after Fonda straddled the gun and became “Hanoi Jane,” perhaps some things stay the same.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>“I have spent the last two years working with GIs and Vietnam veterans, and have spoken in front of hundreds of thousands of anti-war protesters, telling them that our men in uniform aren’t the enemy. Now by mistake, I appear in a photograph to be their enemy. I carry this heavy in my heart. I always will.” — \u003cstrong>Jane Fonda\u003c/strong>\u003c/i>\u003c/p>\n\u003cp>Confronting the images of popular culture and deconstructing their myths is what drives \u003ca href=\"http://www.youmustrememberthispodcast.com/\">\u003ci>You Must Remember This\u003c/i>\u003c/a> (YMRT), the acclaimed podcast by film historian Karina Longworth. The show lays bare “the secret and/or forgotten histories of Hollywood’s first century” and, over the course of 100 episodes, Longworth repeatedly revisits stories from the Golden Age of Film that were once considered gospel and turns the narrative on its head — like the tale of “Hanoi Jane” Fonda. \u003c/p>\n\u003cp>As images go, the photograph of actress and activist Jane Fonda sitting astride a North Vietnamese anti-aircraft gun during the Vietnam War is indelible, and it’s one that Longworth examines at length in ‘Jean and Jane,’ a 9-episode season of YMRT. A deep dive into the storied lives of two movie stars, the season follows these women’s fortunes as they intersect and diverge down the decades from the 1950s onward, culminating in Fonda’s reinvention as the \u003ca href=\"https://www.janefonda.com/workout/\" target=\"_blank\" rel=\"noopener\">first queen of home fitness\u003c/a>, and Seberg’s \u003ca href=\"https://en.wikipedia.org/wiki/Jean_Seberg\" target=\"_blank\" rel=\"noopener\">tragic decline and death\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/deKHYCsjseg'\n title='//www.youtube.com/embed/deKHYCsjseg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Throughout the season, Longworth identifies several similarities between these two women. They both start as consistently underestimated blonde ingenues, they both make films with Jean-Luc Godard, and they both have professional and personal ties to France. Yet the fact that both actresses were “hounded” by the FBI as a result of their outspoken activism was, Longworth says, a major motivation for combining their narratives. Both Fonda and Seberg advocated for civil rights and supported the Black Panthers, and both were vilified by the media (at the behest of J. Edgar Hoover’s FBI). But Fonda became a target for right-wing ire after she aligned herself with the anti-Vietnam war movement, and the “Hanoi Jane” image would haunt Fonda even to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ww2.kqed_.orgTheVietnamWar_web-banners-8e41141478cf5fd9f2d0ea4bb13e8ea52dd8bf00.png\" alt=\"\" width=\"301\" height=\"301\" class=\"alignright size-full wp-image-13808215\">\u003c/a>\u003c/p>\n\u003cp>Beyond that iconic photograph, the details of Jane Fonda’s anti-Vietnam War activism aren’t widely remembered in 2017. Longworth herself says that before entering the exhaustive research phase for ‘Jean and Jane,’ she only “knew what a lot of people think they know — which is, ‘that she did something \u003ci>really bad\u003c/i> in Vietnam that some people have never forgiven her for.’” Those unfamiliar with the extent of Fonda’s involvement in the anti-war movement could be forgiven for assuming that the extent of her involvement was that fateful 1972 trip to Vietnam where she climbed on top of a North Vietnamese gun.\u003c/p>\n\u003cp>But as ‘Jean and Jane’ makes clear, Fonda’s fight against the Vietnam War went far deeper than the popular image. She was no part-time activist, effectively placing her career on hold just after 1969’s Academy Award-winning \u003ci>They Shoot Horses, Don’t They?\u003c/i> to dedicate herself to the cause. Fonda later said that her desire to learn about social causes was sparked after seeing a magazine with a Native American activist on the cover, accompanied by the words “Red Power.” \u003c/p>\n\u003cfigure id=\"attachment_13808309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg\" alt=\"Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda's trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \" width=\"800\" height=\"520\" class=\"size-medium wp-image-13808309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-1180x766.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi4-520x338.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, holding a camera, visits 25 July 1972 a Hanoi site bombed by US airplanes. Fonda’s trip to North Vietnam was part of her protest campaign against the US involvement in the Vietnam war. US bombers, including B-52 strato-fortresses, started to bomb the North Vietnamese capital and its port Haiphong in April 1972. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recognition of her hitherto-charmed life as the talented, privileged daughter of actor Henry Fonda, Fonda said later that “it took a moment in history where millions of people were changing to show me that there was another way to be.” At that time she was interested in a number of causes, including the civil rights movement, the rise of the Black Panthers, the Native American struggle — the latter of which inspired a 1970 visit to Alcatraz Island during its occupation by Native American protesters. But it wouldn’t be long before Fonda focused all her energy on the growing anti-war movement. \u003c/p>\n\u003cp>Fonda’s evolution into political activist coincided with a period of personal reinvention away the conventionally alluring, sex-kittenish persona she cultivated in movies like \u003cem>Barbarella\u003c/em> and toward an entirely new image. This new-look Fonda had short hair, defiantly unglamorous clothes and minimal makeup — a seismic shift that Longworth calls “symbolic in the culture.” In the anti-war cause and in this new guise, Longworth explains, Fonda “found her identity as an activist” — one that she would ultimately “find impossible to shake.” \u003c/p>\n\u003cp>At first, Fonda worked to remedy her lack of understanding of the war. She went on her own version of a fact-finding tour: speaking with the enlisted men she encountered during her time in the “G.I. coffeehouses” that had sprung up around military bases. \u003c/p>\n\u003cp>“I was just realizing that this war was going on and I didn’t know anything about it. I didn’t even know where Vietnam was,” Fonda recalled later.\u003c/p>\n\u003cfigure id=\"attachment_13808310\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg\" alt=\"Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972.\" width=\"800\" height=\"487\" class=\"size-medium wp-image-13808310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-800x487.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-768x467.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1020x621.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-1180x718.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-960x584.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-375x228.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hnaoi3-520x316.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda (R) meets with Vice Prime Minister of the North Vietnam government Nguyen Duy Trinh in Hanoi 21 July 1972. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One Photo’s Permanent Damage\u003c/h2>\n\u003cp>In 1972, Fonda traveled to Hanoi to witness the war’s destruction. Her North Vietnamese hosts insisted the actress visit an anti-aircraft installation — a request she agreed to, recounts Longworth in her podcast, out of politeness to those who had treated her well thus far. After a boozy luncheon with some reporters, Fonda’s hosts placed a helmet on her head and suggested she climb into the seat of an anti-aircraft gun, to much laughter.\u003c/p>\n\u003cp>She was “up there less than a minute,” recounts Longworth — but as the surrounding journalists took pictures and film footage, Fonda realized instantaneously the magnitude of what she’d just done. She begged her translator to ensure the photos were destroyed, and was assured they would be. \u003c/p>\n\u003cp>It was, of course, too late. Fonda returned to the United States to screen the footage she filmed of war-torn Vietnam: footage that exposed the Nixon administration’s lies regarding the U.S. bombing in the area, which the president had promised to stop. But its impact was hobbled after the \u003cem>New York Post\u003c/em> ran the gun photo, accompanied by the now-immortal phrase “Hanoi Jane.”\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/eBViVboG0Mk'\n title='//www.youtube.com/embed/eBViVboG0Mk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It wasn’t a \u003ci>smart thing\u003c/i> to be photographed on this gun,” Longworth said during an interview with KQED. “As much as you can say that she had good intentions, and that she actually did important work in terms of proving that some lies that the U.S. government were saying about the war were lies, she walked into a North Vietnamese publicity stunt. It was a mistake. And she said it was a mistake.”\u003c/p>\n\u003cfigure id=\"attachment_13808313\" class=\"wp-caption alignright\" style=\"max-width: 468px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/515305896.jpg\" alt=\"American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People.\" width=\"468\" height=\"594\" class=\"size-full wp-image-13808313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-240x305.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/515305896-375x476.jpg 375w\" sizes=\"(max-width: 468px) 100vw, 468px\">\u003cfigcaption class=\"wp-caption-text\">American actress and antiwar activist Jane Fonda looks though the scope of an anti-aircraft gun during her tour of the North Vietnamese capital. She arrived July 8 at the invitation of the Vietnam Committee for Solidarity with the American People. \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It didn’t take long for Fonda to admit publicly that she’d made a mistake, and she \u003ca href=\"http://www.hollywoodreporter.com/news/jane-fonda-regrets-vietnam-photo-764710\" target=\"_blank\" rel=\"noopener\">continues today\u003c/a> to express her regret over the picture and what it did to her work.\u003c/p>\n\u003cp>“I made it easy for the media to choose a dubious if not downright hostile lens through which to view me, pronouncing myself a revolutionary woman while \u003ci>Barbarella\u003c/i> had just played in a theater around the corner,” Fonda stated in a later interview. \u003c/p>\n\u003ch2>A ‘Gender Betrayal’ of Male Fantasy\u003c/h2>\n\u003cp>Early in ‘Jean and Jane’, Longworth draws the listener’s attention to a video online which crystallizes the sense of betrayal some still feel about Fonda’s transformation from sex kitten to anti-war activist. In it, images of Fonda in full \u003cem>Barbarella\u003c/em> garb appear with the words “What we wanted” — before being replaced by Fonda in her makeup-less protester role, and the words “What we got.”\u003c/p>\n\u003cp>It’s hard not to see the sheer vehemence of the anti-Fonda sentiment as saying a great deal about what men thought women — particularly famous women — were here to do, to look and to be. One thing they were not here to do: fiercely criticize the masculine sphere of war.\u003c/p>\n\u003cp>“This idea that she had this period, like, her most stringent as an activist was coinciding with her deliberate refusal to play into the male gaze, is obviously really interesting,” Longworth said. \u003c/p>\n\u003cp>The fantasy of womanhood peddled in movies like \u003ci>Barbarella\u003c/i> in the late 1960s was, Longworth says, “really convincing — and there wasn’t a lot of media that asked consumers of it to think about how they were being manipulated… So when [Fonda] very abruptly — or so it seemed to the public and the media — changed the way she looked and changed her stated ideology and even walked away from making movies so she could spend her whole day doing activism, I think that felt like a betrayal to the people who had bought into the sexual fantasy.”\u003c/p>\n\u003cp>Fonda herself was all too aware of this. \u003c/p>\n\u003cp>“I realize,” Fonda said, “that it is not just a U.S. citizen laughing and clapping on a Vietnamese anti-aircraft gun. I am Henry Fonda’s privileged daughter who appears to be thumbing my nose at the country that has provided me these privileges. More than that, I am a woman, which makes my sitting there even more of a betrayal. A gender betrayal. And I am a woman who is seen as \u003ci>Barbarella\u003c/i>, a character who exists on some subliminal level as an embodiment of men’s fantasies. Barbarella has become their enemy.”\u003c/p>\n\u003cfigure id=\"attachment_13808311\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg\" alt=\"A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \" width=\"800\" height=\"495\" class=\"size-medium wp-image-13808311\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Hanoi2-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo dated 25 July 1972 of US actress Jane Fonda visiting Hanoi. \u003ccite>(STF/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Precursor to Today’s Celebrity-Political Complex\n\u003ch2>\n\u003c/h2>\u003c/h2>\u003cp>It’s this notion of betrayal — of femininity, of cultural expectation, of one’s country and its military mission against another nation — that continually resounds in Fonda’s story. Longworth won’t go so far as to equate Fonda’s criticism of the war with an implicit criticism of masculinity, but thinks that the actress, with her defiantly unglamorous look, “was an affront to masculinity in some ways.” \u003c/p>\n\u003cp>When a person — an actress, from a storied acting dynasty, no less — expresses political views, it’s as if every subsequent move, every statement that follows must be perfect, in a way that leaves no room for human error or moral complexity. Any misstep, and everything that’s come before, can be immediately invalidated. Perhaps it’s this degree of judgement and scrutiny that assuming a political platform invites which dissuades today’s stars from speaking out like Fonda did.\u003c/p>\n\u003cp>Social media, Longworth says, can dupe us into “the illusion we’re getting the ‘real stuff’” from our celebrities, when in reality “their personas and their personalities in the public space are so mediated and so protected. So I don’t think anybody’s really putting themselves out there like that.” The ones that do dare to express political leanings and notions are often mocked for it, she reminds me. Just look at Kanye West: “He’s so dismissed and so discredited, always. So… that kind of thing becomes so scary for [other stars]. They don’t want to even try to wade into those waters.”\u003c/p>\n\u003cfigure id=\"attachment_13808312\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-800x1063.jpg\" alt=\"Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \" width=\"800\" height=\"1063\" class=\"size-medium wp-image-13808312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-375x498.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Jane-Fonda-Stockholm-520x691.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Fonda, American actress and peace activist, addresses media 20 December 1972 in Stockholm during a press conference protesting United States military involvement in the Vietnam war. \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s telling that when you when you ask most people to name any recent public figures that met with Fonda-level opprobrium for their activism, they’ll probably name the Dixie Chicks. In 2003, lead singer Natalie Maines’ outspoken comments on George W. Bush’s imminent invasion of Iraq (“We do not want this war, this violence, and we’re ashamed that the President of the United States is from Texas”) invoked a backlash that all but halted the band’s career — but in the 14 years since, have we really avoided more scandalous political stances? \u003c/p>\n\u003cp>Longworth is keen that we don’t forget current-day figures like Shailene Woodley, the young actress who was arrested protesting the Dakota Access Pipeline in 2016. But it’s been a long while since a star’s activism had a truly scarring impact on their career and reputation. When I ask if she can imagine one of today’s actors or actresses stumbling into an on-camera “Hanoi Jane” moment, Longworth is skeptical. \u003c/p>\n\u003cp>“I think that an equivalent person to Jane Fonda today would be too scared to do something like that,” she says. “I don’t see anyone putting themselves on the line like that. So they wouldn’t even risk a ‘two-minute lapse of sanity.’” \u003c/p>\n\u003cp>Later, in an email, Longworth drew my attention to \u003ca href=\"http://www.nationalreview.com/article/450827/miley-cyrus-weed-hillary-no-longer-preoccupations\" target=\"_blank\" rel=\"noopener\">an article in the conservative-leaning National Review\u003c/a> that casts an approving eye on the transformation of singer Miley Cyrus back into the country-loving, long-locked, unthreatening presence which defined the earlier years of her career. Equating Cyrus’s move away from pro-Clinton, anti-Trump political statements with her transition back to being “wholesome”, it notes how she appears “chastened by her ill-advised foray into lefty activism and the annoy-the-bourgeoisie gonzo aesthetic that went with it.”\u003c/p>\n\u003cp>This 24-year-old woman, it implies, has never been more attractive than when she finally abandoned all that politics stuff. Forty-five years after Fonda straddled the gun and became “Hanoi Jane,” perhaps some things stay the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Man Booker Prize Shortlist Features George Saunders, Mohsin Hamid and Ali Smith",
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"content": "\u003cp>The Man Booker Prize rolled out its 2017 shortlist on Wednesday, delivering a list of six nominees showcasing a hefty dose of literary heavyweights and a pair of newcomers. Of the six novels on the list, just one will go on to win this year’s prestigious literary prize at gala ceremony next month in London.\u003c/p>\n\u003cp>Readers won’t have too hard a time recognizing several nominees. Ali Smith, for one, has now made the Man Booker shortlist four times in less than two decades, this time for \u003cem>Autumn\u003c/em>. Paul Auster, for another, has racked up his fair share of recognition during a prolific career that includes the seminal \u003cem>New York Trilogy. \u003c/em>His 880-page opus \u003cem>4 3 2 1\u003c/em> has earned a nod from Man Booker judges.\u003c/p>\n\u003cp>And while the shortlisted \u003cem>Lincoln in the Bardo\u003c/em> might be George Saunders’ first novel, it’s far from his first work. His short fiction has previously earned him the Folio Prize, a MacArthur “genius grant” and a spot on the shortlist for the National Book Award.\u003c/p>\n\u003cp>Mohsin Hamid, nominated for \u003cem>Exit West\u003c/em>, is no stranger to the Man Booker shortlist himself, having already earned a 2007 nod for \u003cem>The Reluctant Fundamentalist\u003c/em>.\u003c/p>\n\u003cp>So far, few surprises — but the shortlist announced Wednesday did showcase some fresh faces. Fiona Mozley, a 29-year-old doctoral candidate in medieval history, made the list with \u003cem>Elmet\u003c/em>, her debut novel. In fact, she didn’t even “want to expect it to be published,” she \u003ca href=\"https://www.standard.co.uk/lifestyle/books/man-booker-shortlist-2017-londoner-who-wrote-debut-novel-on-her-phone-competes-against-five-other-a3633671.html\">tells The Standard\u003c/a> in the U.K. “I thought if I didn’t tell my friends I was writing it, I’d be more likely to finish. So I just got on with it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mozley is not the only debut novelist. Emily Fridlund’s \u003cem>History of Wolves —\u003c/em> which “is as beautiful and as icy as the Minnesota woods where it’s set,” \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">NPR’s review writes\u003c/a> — rounds out the 2017 shortlist.\u003c/p>\n\u003cp>“Playful, sincere, unsettling, fierce: here is a group of novels grown from tradition but also radical and contemporary,” judge Baroness Lola Young says in a statement. “The emotional, cultural, political and intellectual range of these books is remarkable, and the ways in which they challenge our thinking is a testament to the power of literature.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2pP0x1UPhGE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Below, find the full shortlist, linked to NPR’s reviews of the works and interviews with their authors, where possible.\u003c/p>\n\u003chr>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/06/513769948/1-character-4-different-lives-in-paul-austers-4-3-2-1\">\u003cstrong>Paul Auster\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/01/512042685/four-lives-in-parallel-run-through-ambitious-4-3-2-1\">4 3 2 1\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Emily Fridlund\u003c/strong>, \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">History of Wolves\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/03/08/519217991/from-refugees-to-politics-mohsin-hamid-writes-the-change-he-wants-to-see\">\u003cstrong>Mohsin Hamid\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/03/01/515438471/escaping-a-world-on-fire-in-exit-west\">Exit West\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Fiona Mozley\u003c/strong>, Elmet\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">\u003cstrong>George Saunders\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/514294006/george-saunders-re-imagines-a-presidents-grief-with-lincoln-in-the-bardo\">Lincoln in the Bardo\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2014/11/29/367362530/art-and-death-are-two-things-at-once-in-how-to-be-both\">\u003cstrong>Ali Smith\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/512910724/autumn-champions-free-spirits-and-the-lifeforce-of-art\">Autumn\u003c/a>\u003c/li>\n\u003c/ul>\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=Man+Booker+Prize+Shortlist+Features+George+Saunders%2C+Mohsin+Hamid+And+Ali+Smith&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Man Booker Prize rolled out its 2017 shortlist on Wednesday, delivering a list of six nominees showcasing a hefty dose of literary heavyweights and a pair of newcomers. Of the six novels on the list, just one will go on to win this year’s prestigious literary prize at gala ceremony next month in London.\u003c/p>\n\u003cp>Readers won’t have too hard a time recognizing several nominees. Ali Smith, for one, has now made the Man Booker shortlist four times in less than two decades, this time for \u003cem>Autumn\u003c/em>. Paul Auster, for another, has racked up his fair share of recognition during a prolific career that includes the seminal \u003cem>New York Trilogy. \u003c/em>His 880-page opus \u003cem>4 3 2 1\u003c/em> has earned a nod from Man Booker judges.\u003c/p>\n\u003cp>And while the shortlisted \u003cem>Lincoln in the Bardo\u003c/em> might be George Saunders’ first novel, it’s far from his first work. His short fiction has previously earned him the Folio Prize, a MacArthur “genius grant” and a spot on the shortlist for the National Book Award.\u003c/p>\n\u003cp>Mohsin Hamid, nominated for \u003cem>Exit West\u003c/em>, is no stranger to the Man Booker shortlist himself, having already earned a 2007 nod for \u003cem>The Reluctant Fundamentalist\u003c/em>.\u003c/p>\n\u003cp>So far, few surprises — but the shortlist announced Wednesday did showcase some fresh faces. Fiona Mozley, a 29-year-old doctoral candidate in medieval history, made the list with \u003cem>Elmet\u003c/em>, her debut novel. In fact, she didn’t even “want to expect it to be published,” she \u003ca href=\"https://www.standard.co.uk/lifestyle/books/man-booker-shortlist-2017-londoner-who-wrote-debut-novel-on-her-phone-competes-against-five-other-a3633671.html\">tells The Standard\u003c/a> in the U.K. “I thought if I didn’t tell my friends I was writing it, I’d be more likely to finish. So I just got on with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mozley is not the only debut novelist. Emily Fridlund’s \u003cem>History of Wolves —\u003c/em> which “is as beautiful and as icy as the Minnesota woods where it’s set,” \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">NPR’s review writes\u003c/a> — rounds out the 2017 shortlist.\u003c/p>\n\u003cp>“Playful, sincere, unsettling, fierce: here is a group of novels grown from tradition but also radical and contemporary,” judge Baroness Lola Young says in a statement. “The emotional, cultural, political and intellectual range of these books is remarkable, and the ways in which they challenge our thinking is a testament to the power of literature.”\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/2pP0x1UPhGE'\n title='//www.youtube.com/embed/2pP0x1UPhGE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Below, find the full shortlist, linked to NPR’s reviews of the works and interviews with their authors, where possible.\u003c/p>\n\u003chr>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/06/513769948/1-character-4-different-lives-in-paul-austers-4-3-2-1\">\u003cstrong>Paul Auster\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/01/512042685/four-lives-in-parallel-run-through-ambitious-4-3-2-1\">4 3 2 1\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Emily Fridlund\u003c/strong>, \u003ca href=\"http://www.npr.org/2017/01/03/507162378/beautiful-icy-history-of-wolves-transcends-genre\">History of Wolves\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/03/08/519217991/from-refugees-to-politics-mohsin-hamid-writes-the-change-he-wants-to-see\">\u003cstrong>Mohsin Hamid\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/03/01/515438471/escaping-a-world-on-fire-in-exit-west\">Exit West\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Fiona Mozley\u003c/strong>, Elmet\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2017/02/11/514512921/lincoln-in-the-bardo-pictures-an-american-saint-of-sorrow\">\u003cstrong>George Saunders\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/514294006/george-saunders-re-imagines-a-presidents-grief-with-lincoln-in-the-bardo\">Lincoln in the Bardo\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.npr.org/2014/11/29/367362530/art-and-death-are-two-things-at-once-in-how-to-be-both\">\u003cstrong>Ali Smith\u003c/strong>\u003c/a>, \u003ca href=\"http://www.npr.org/2017/02/09/512910724/autumn-champions-free-spirits-and-the-lifeforce-of-art\">Autumn\u003c/a>\u003c/li>\n\u003c/ul>\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=Man+Booker+Prize+Shortlist+Features+George+Saunders%2C+Mohsin+Hamid+And+Ali+Smith&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mere days before San Francisco’s annual Comedy Day, San Francisco is memorializing the late Robin Williams by officially dedicating a meadow in Golden Gate Park in his honor.\u003c/p>\n\u003cp>The San Francisco Recreation and Parks Department announced the “renaming” of Sharon Meadow to the Robin Williams Meadow on Monday. The initiative to name the space to celebrate Williams’ life was led by Debi and Will Durst, the producers of Comedy Day and longtime veterans of the San Francisco comedy scene.\u003c/p>\n\u003cp>“Robin was one of San Francisco’s cherished sons, whose selfless acts of philanthropy benefitted communities across our city. We will forever remember him fondly and the Robin Williams Meadow will be a lasting testament to his legacy,” said Mayor Ed Lee in a statement.\u003c/p>\n\u003cp>Williams, who committed suicide in 2014, was a major benefactor and frequent performer at Comedy Day since its founding in 1981. The free comedy showcase has been held at the Meadow since 1996 after moving from the Park’s Polo Field and, prior to that, the Music Concourse.\u003c/p>\n\u003cp>“San Francisco was so much of Robin’s life,” said Debi Durst in an interview with KQED. “He loved San Francisco and he loved Comedy Day. Since Comedy Day was in the Meadow for such a long time and since he was such a big part of it, I thought, let’s name it for him.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sharon Meadow, Durst noted, was never an official moniker for the meadow that overlooks the Sharon Building in Golden Gate Park. Nevertheless, much of the signage and branding still refers to the meadow with its unofficial title.\u003c/p>\n\u003cp>Though the name change is official, the Dursts are uncertain whether the city of San Francisco can defray the cost — around $50,000 — of renovating the signage and physical materials to reflect the new name for the meadow.\u003c/p>\n\u003cp>This dedication follows the successful campaign to \u003ca href=\"https://ww2.kqed.org/arts/2016/03/02/robin-williams-tunnel-now-identified-by-new-sign/\" target=\"_blank\" rel=\"noopener noreferrer\">rename the tunnel\u003c/a> that bridges the Golden Gate Bridge and Marin County after Williams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Comedy Day will take place Sept. 17 at the newly named Meadow, during which the official naming will be announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mere days before San Francisco’s annual Comedy Day, San Francisco is memorializing the late Robin Williams by officially dedicating a meadow in Golden Gate Park in his honor.\u003c/p>\n\u003cp>The San Francisco Recreation and Parks Department announced the “renaming” of Sharon Meadow to the Robin Williams Meadow on Monday. The initiative to name the space to celebrate Williams’ life was led by Debi and Will Durst, the producers of Comedy Day and longtime veterans of the San Francisco comedy scene.\u003c/p>\n\u003cp>“Robin was one of San Francisco’s cherished sons, whose selfless acts of philanthropy benefitted communities across our city. We will forever remember him fondly and the Robin Williams Meadow will be a lasting testament to his legacy,” said Mayor Ed Lee in a statement.\u003c/p>\n\u003cp>Williams, who committed suicide in 2014, was a major benefactor and frequent performer at Comedy Day since its founding in 1981. The free comedy showcase has been held at the Meadow since 1996 after moving from the Park’s Polo Field and, prior to that, the Music Concourse.\u003c/p>\n\u003cp>“San Francisco was so much of Robin’s life,” said Debi Durst in an interview with KQED. “He loved San Francisco and he loved Comedy Day. Since Comedy Day was in the Meadow for such a long time and since he was such a big part of it, I thought, let’s name it for him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sharon Meadow, Durst noted, was never an official moniker for the meadow that overlooks the Sharon Building in Golden Gate Park. Nevertheless, much of the signage and branding still refers to the meadow with its unofficial title.\u003c/p>\n\u003cp>Though the name change is official, the Dursts are uncertain whether the city of San Francisco can defray the cost — around $50,000 — of renovating the signage and physical materials to reflect the new name for the meadow.\u003c/p>\n\u003cp>This dedication follows the successful campaign to \u003ca href=\"https://ww2.kqed.org/arts/2016/03/02/robin-williams-tunnel-now-identified-by-new-sign/\" target=\"_blank\" rel=\"noopener noreferrer\">rename the tunnel\u003c/a> that bridges the Golden Gate Bridge and Marin County after Williams.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Comedy Day will take place Sept. 17 at the newly named Meadow, during which the official naming will be announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More",
"headTitle": "Hardly Strictly Lineup: Cheap Trick, Big Freedia, Courtney Barnett, More | KQED",
"content": "\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\n\u003cp>https://youtu.be/3KNsBCf34fQ\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\n\u003cp>https://youtu.be/fMQGqOg4lDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\n\u003cp>https://youtu.be/th370QmFtk8\u003c/p>\n\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\n\u003cp>https://youtu.be/hADxHPEekqg\u003c/p>\n\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\n\u003cp>https://youtu.be/eIqESwzCGg4\u003c/p>\n\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like just yesterday that hundreds of thousands of music lovers stormed Golden Gate Park for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/14/on-outside-lands-chartlottesville-and-conspicuous-silence/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> — and now it’s time to do it all over again for the \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass Festival\u003c/a>, taking place Oct. 6-8. As its name suggests, Hardly Strictly once featured exclusively bluegrass, but in recent years the free festival has diversified its roster to include hip-hop, classic rock, Afrobeat, and a slew of other genres. \u003c/p>\n\u003cp>Festival mainstays like Emmylou Harris, Steve Earle, Buddy Miller, Hot Tuna and Conner Oberst are back on the lineup, but there are also plenty of surprises. See Hardly Strictly’s full lineup — over 100 acts — \u003ca href=\"http://www.hardlystrictlybluegrass.com/2017/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and read more for five unexpected acts not to miss at its 17th edition.\u003c/p>\n\u003ch3>Kurt Vile and Courtney Barnett\u003c/h3>\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/3KNsBCf34fQ'\n title='//www.youtube.com/embed/3KNsBCf34fQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/kurtvile\" target=\"_blank\" rel=\"noopener\">Kurt Vile\u003c/a>, former guitarist for The War on Drugs-turned-solo songwriter, is a long-haired rocker whose reverb-laden chillwave tunes conjure images of skipping class to smoke cigarettes at the skatepark. He recently teamed up with \u003ca href=\"https://soundcloud.com/courtney-barnett-milk\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a>, an Australian singer-songwriter who makes high-energy garage rock, for a forthcoming collaborative album called \u003ca href=\"http://courtneybarnettandkurtvile.com/home/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lotta Sea Lice\u003c/em>\u003c/a>. Together, they’ve developed a twangy, country-rock sound that still contains the same disaffected swagger of their solo work. \u003c/p>\n\u003ch3>Big Freedia\u003c/h3>\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/fMQGqOg4lDw'\n title='//www.youtube.com/embed/fMQGqOg4lDw'\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.bigfreedia.com/\" target=\"_blank\" rel=\"noopener\">Big Freedia\u003c/a> is the queen diva of New Orleans bounce music, the rump-shaking hip-hop subgenre that gave rise to twerking as we know it today. The bold, gender-nonconforming artist has always represented NoLa’s queer club culture. An annual mainstay at Outside Lands, and longtime underground favorite, she recently broke into the mainstream with “\u003ca href=\"https://www.youtube.com/watch?v=bHNiNP3hDkU\" target=\"_blank\" rel=\"noopener\">Drop\u003c/a>,” a collaboration with Diplo and DJ Snake. \u003c/p>\n\u003ch3>Cheap Trick\u003c/h3>\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/th370QmFtk8'\n title='//www.youtube.com/embed/th370QmFtk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With their classics “Surrender” and “I Want You to Want Me,” \u003ca href=\"http://www.cheaptrick.com/\" target=\"_blank\" rel=\"noopener\">Cheap Trick\u003c/a> helped define the power-pop sound of the ’70s, which is why the Platinum-selling band was rightfully — and \u003ca href=\"http://www.salon.com/2015/04/15/cheap_trick_is_one_of_the_best_rock_bands_ever_why_arent_they_in_the_hall_of_fame/\" target=\"_blank\" rel=\"noopener\">according to some critics\u003c/a>, belatedly — inducted into the Rock & Roll Hall of Fame last year. The band is independent now and still touring, but a free performance from these legends is pretty rare. \u003c/p>\n\u003ch3>Seun Kuti & Egypt 80\u003c/h3>\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/hADxHPEekqg'\n title='//www.youtube.com/embed/hADxHPEekqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nigerian musician \u003ca href=\"https://www.facebook.com/seunkutiofficial/\" target=\"_blank\" rel=\"noopener\">Seun Kuti\u003c/a> was just 14 years old when his father, Afrobeat pioneer Fela Kuti, passed away in 1997. The young man picked up where his dad left off and took the helm of his band, Egypt 80. They now tour the world with their percussive, high-energy, and often political live show, which includes new originals and Fela Kuti classics.\u003c/p>\n\u003ch3>Jello Biafra\u003c/h3>\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/eIqESwzCGg4'\n title='//www.youtube.com/embed/eIqESwzCGg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the former frontman of legendary San Francisco band the Dead Kennedys, \u003ca href=\"https://www.facebook.com/jbiafra/\" target=\"_blank\" rel=\"noopener\">Jello Biafra\u003c/a> is a Bay Area punk icon who has long been on the political frontlines. In the ’80s, he and his label, Alternative Tentacles, were taken to court for an obscenity charge, an accusation they decried as political censorship (the case was eventually dropped); Biafra is also a member of the Green Party and ran for president in 2000. Today, he’s a staunch critic of the Trump administration and continues to perform solo, both as a musician and spoken word artist. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s LGBTQ scene was reeling Monday after Bubbles, a local DJ, artist and queer activist was shot to death over the weekend near a Tenderloin strip club. The incident has led one San Francisco Supervisor to call for the club, the New Century theater, to be investigated.\u003c/p>\n\u003cp>San Francisco Police say an unknown assailant shot Bubbles near the New Century theater around 2:50am Saturday morning. Doctors pronounced Bubbles dead at the hospital. \u003c/p>\n\u003cp>Police said on Monday that they believe — so far — that the shooting was not a hate crime.\u003c/p>\n\u003cp>On Sunday, social media lit up with remembrances of the beloved character, known for being a ubiquitous presence in San Francisco’s nightlife with dreadlock wigs, outrageously tight shirts, oversized sunglasses and a handlebar mustache.\u003c/p>\n\u003cp>“My heart is breaking for Bubbles,” wrote LGBT activist Tom Temprano \u003ca href=\"https://www.facebook.com/tom.temprano/posts/10102582909276018\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>. “They brought so much energy and light to our nightlife community and are truly irreplaceable.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bubbles, 44, was born Anthony Torres but 20 years ago took on the non-gender-conforming alter ego, often going by the pronoun “they.” Bubbles said in an interview that the persona was a product of San Francisco because in the city “you can get away with doing this.” \u003c/p>\n\u003cp>“It’s an escape from every mundane day, and San Francisco allows me to do that,” Bubbles told the \u003ca href=\"http://www.sfgate.com/bayarea/cityexposed/article/In-tight-times-Bubbles-still-comes-out-to-play-3689328.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> in 2012\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808141\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg\" alt=\"Bubbles, poolside\" width=\"960\" height=\"540\" class=\"size-full wp-image-13808141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles at a hot springs. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48 Hills editor and Bubbles’ former roommate Marke Bieschke says that before the alter ego, Bubbles dressed up only a few nights a week, “satisfied with it as an occasion for dress-up.” But after Bubbles moved out, he resurfaced as the Bubbles the full-time performer.\u003c/p>\n\u003cp>“The defining characteristic of Bubbles was freedom. Everything that you might question yourself doing, Bubbles would immediately go for it,” Bieschke said. “It was exhilarating and shocking and sometimes scary to watch.”\u003c/p>\n\u003cp>But even before he moved to the city, Bubbles was out and fearless. Marcus Wilson, also known as the Seattle-based drag performer Ursula Android, said he grew up with Bubbles in Phoenix, Arizona. The two attended junior high school together, and Wilson says that Bubbles dressed outrageously and never let the predictable bullying bring him down.\u003c/p>\n\u003cp>“Anthony was who I desperately wanted to be, but couldn’t even imagine having the courage to be. Anthony got taunted, chased, beaten up, threatened, and suspended on an almost daily basis, and somehow he really couldn’t care less, even then,” Wilson \u003ca href=\"https://www.facebook.com/marcus.wilson.33633/posts/10155181303126843\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “Anthony’s self-confidence and innate belief in theirself was truly awe-inspiring.” \u003c/p>\n\u003cp>In San Francisco, Bubbles became a fixture in the city’s nightlife. They could be seen DJing at a club, selling “\u003ca href=\"http://48hills.org/2017/09/11/tears-and-bubbly-for-bubbles/\" target=\"_blank\" rel=\"noopener\">tranny snow cones\u003c/a>” on the street, or just being a character in the middle of the night. \u003c/p>\n\u003cp>“Someone recently shared a video of Bubbles pretending to vacuum a piece of the Tenderloin at 3am, re-enacting Queen’s ‘\u003ca href=\"https://www.youtube.com/watch?v=f4Mc-NYPHaQ\" target=\"_blank\" rel=\"noopener\">I Want to Break Free\u003c/a>‘ video,” Bieschke said.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.instagram.com/p/BY32OkdDC8r/\u003cbr>\n\u003c/aside>\n\u003cp>Bubbles once considered leaving San Francisco after \u003ca href=\"https://ripplenews.com/read/san-francisco/we-need-more-bubbles-in-san-francisco-1309srla\" target=\"_blank\" rel=\"noopener\">being gay-bashed in 2008\u003c/a>, but stayed anyway. Yet at the end of September, Bubbles expected to move to Berlin — which captured the longtime San Franciscan’s imagination as a place where “people still partied like we did in the ’90s.”\u003c/p>\n\u003cp>Instead of a going-away party, Bubbles’ friends will hold a moment of silence at this Wednesday’s \u003ca href=\"https://www.facebook.com/events/827822534058795\" target=\"_blank\" rel=\"noopener\">Housepitality,\u003c/a> the weekly dance party Bubbles was most associated with. \u003c/p>\n\u003cp>“We will never forget the amazing art show he produced for us and all the wonderful moments of fun crazyness and weird that he provided us on our dancefloor, outside of our door and in the scene in general,” the promoters of Housepitality wrote. \u003c/p>\n\u003ch3>New Century Investigation\u003c/h3>\n\u003cp>San Francisco Supervisor Jane Kim says she’s investigating the New Century Theater, near where Bubbles’ body was found. Kim believes the strip club may be connected to a fatal shooting this weekend, and she says that residents have told her that the New Century Theater contributes to crime on the block.\u003c/p>\n\u003cp>“They believe that you know they either don’t act as a steward of the block and allow the drug dealing to go on,” Kim said.\u003c/p>\n\u003cp>Kim also said her investigation could lead to the removal of one of New Century’s business permits.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting provided by Sonja Huston.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s LGBTQ scene was reeling Monday after Bubbles, a local DJ, artist and queer activist was shot to death over the weekend near a Tenderloin strip club. The incident has led one San Francisco Supervisor to call for the club, the New Century theater, to be investigated.\u003c/p>\n\u003cp>San Francisco Police say an unknown assailant shot Bubbles near the New Century theater around 2:50am Saturday morning. Doctors pronounced Bubbles dead at the hospital. \u003c/p>\n\u003cp>Police said on Monday that they believe — so far — that the shooting was not a hate crime.\u003c/p>\n\u003cp>On Sunday, social media lit up with remembrances of the beloved character, known for being a ubiquitous presence in San Francisco’s nightlife with dreadlock wigs, outrageously tight shirts, oversized sunglasses and a handlebar mustache.\u003c/p>\n\u003cp>“My heart is breaking for Bubbles,” wrote LGBT activist Tom Temprano \u003ca href=\"https://www.facebook.com/tom.temprano/posts/10102582909276018\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>. “They brought so much energy and light to our nightlife community and are truly irreplaceable.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bubbles, 44, was born Anthony Torres but 20 years ago took on the non-gender-conforming alter ego, often going by the pronoun “they.” Bubbles said in an interview that the persona was a product of San Francisco because in the city “you can get away with doing this.” \u003c/p>\n\u003cp>“It’s an escape from every mundane day, and San Francisco allows me to do that,” Bubbles told the \u003ca href=\"http://www.sfgate.com/bayarea/cityexposed/article/In-tight-times-Bubbles-still-comes-out-to-play-3689328.php\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco Chronicle\u003c/em> in 2012\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13808141\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg\" alt=\"Bubbles, poolside\" width=\"960\" height=\"540\" class=\"size-full wp-image-13808141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Bubbles-3-520x293.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Bubbles at a hot springs. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48 Hills editor and Bubbles’ former roommate Marke Bieschke says that before the alter ego, Bubbles dressed up only a few nights a week, “satisfied with it as an occasion for dress-up.” But after Bubbles moved out, he resurfaced as the Bubbles the full-time performer.\u003c/p>\n\u003cp>“The defining characteristic of Bubbles was freedom. Everything that you might question yourself doing, Bubbles would immediately go for it,” Bieschke said. “It was exhilarating and shocking and sometimes scary to watch.”\u003c/p>\n\u003cp>But even before he moved to the city, Bubbles was out and fearless. Marcus Wilson, also known as the Seattle-based drag performer Ursula Android, said he grew up with Bubbles in Phoenix, Arizona. The two attended junior high school together, and Wilson says that Bubbles dressed outrageously and never let the predictable bullying bring him down.\u003c/p>\n\u003cp>“Anthony was who I desperately wanted to be, but couldn’t even imagine having the courage to be. Anthony got taunted, chased, beaten up, threatened, and suspended on an almost daily basis, and somehow he really couldn’t care less, even then,” Wilson \u003ca href=\"https://www.facebook.com/marcus.wilson.33633/posts/10155181303126843\" target=\"_blank\" rel=\"noopener\">wrote on Facebook\u003c/a>. “Anthony’s self-confidence and innate belief in theirself was truly awe-inspiring.” \u003c/p>\n\u003cp>In San Francisco, Bubbles became a fixture in the city’s nightlife. They could be seen DJing at a club, selling “\u003ca href=\"http://48hills.org/2017/09/11/tears-and-bubbly-for-bubbles/\" target=\"_blank\" rel=\"noopener\">tranny snow cones\u003c/a>” on the street, or just being a character in the middle of the night. \u003c/p>\n\u003cp>“Someone recently shared a video of Bubbles pretending to vacuum a piece of the Tenderloin at 3am, re-enacting Queen’s ‘\u003ca href=\"https://www.youtube.com/watch?v=f4Mc-NYPHaQ\" target=\"_blank\" rel=\"noopener\">I Want to Break Free\u003c/a>‘ video,” Bieschke said.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.instagram.com/p/BY32OkdDC8r/\u003cbr>\n\u003c/aside>\n\u003cp>Bubbles once considered leaving San Francisco after \u003ca href=\"https://ripplenews.com/read/san-francisco/we-need-more-bubbles-in-san-francisco-1309srla\" target=\"_blank\" rel=\"noopener\">being gay-bashed in 2008\u003c/a>, but stayed anyway. Yet at the end of September, Bubbles expected to move to Berlin — which captured the longtime San Franciscan’s imagination as a place where “people still partied like we did in the ’90s.”\u003c/p>\n\u003cp>Instead of a going-away party, Bubbles’ friends will hold a moment of silence at this Wednesday’s \u003ca href=\"https://www.facebook.com/events/827822534058795\" target=\"_blank\" rel=\"noopener\">Housepitality,\u003c/a> the weekly dance party Bubbles was most associated with. \u003c/p>\n\u003cp>“We will never forget the amazing art show he produced for us and all the wonderful moments of fun crazyness and weird that he provided us on our dancefloor, outside of our door and in the scene in general,” the promoters of Housepitality wrote. \u003c/p>\n\u003ch3>New Century Investigation\u003c/h3>\n\u003cp>San Francisco Supervisor Jane Kim says she’s investigating the New Century Theater, near where Bubbles’ body was found. Kim believes the strip club may be connected to a fatal shooting this weekend, and she says that residents have told her that the New Century Theater contributes to crime on the block.\u003c/p>\n\u003cp>“They believe that you know they either don’t act as a steward of the block and allow the drug dealing to go on,” Kim said.\u003c/p>\n\u003cp>Kim also said her investigation could lead to the removal of one of New Century’s business permits.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting provided by Sonja Huston.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S219hCL9-QU\u003c/p>\n\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Around 350 people gathered in San Jose on Sunday afternoon to mourn the passing of Chinese arts impresario Ann Woo, who died rlnder mysterious circumstances in August at the age of 75.\u003c/p>\n\u003cp>In 1991, Woo co-founded \u003ca href=\"http://cpaasv.info\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Performing Arts of America\u003c/a> (CPAA), a San Jose-based cultural center focused on promoting interest in traditional Chinese and related performing arts disciplines that was integral to the creative landscape of Silicon Valley.\u003c/p>\n\u003cp>Woo’s commitment won her wide respect in the South Bay, ranging from parents grateful she provided a platform for their children to learn about their heritage, to community leaders happy she could wrangle high-quality entertainment for any civic occasion.\u003c/p>\n\u003cfigure id=\"attachment_13808056\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808056 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg\" alt=\"Representatives of Ann Woo's two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26506_IMG_3632-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Representatives of Ann Woo’s two families, her personal family and that of Chinese Performing Arts of America, spoke and performed at her memorial. \u003ccite>(Photo: Courtesy of Michael M. Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I knew Ann for 27 years,” said Patrick Kwok, former mayor of Cupertino and former board chair for the CPAA. “Her dedication and passion for Chinese arts is just beyond any description.”\u003c/p>\n\u003cp>Woo’s death\u003ca href=\"http://www.mercurynews.com/2017/09/08/ann-woo-death-as-memorial-nears-case-remains-a-mystery/\" target=\"_blank\" rel=\"noopener noreferrer\"> on Aug. 25\u003c/a> occurred two weeks after she fell into a dispute with a woman who had been involved in planning a future event with Woo’s organization. Woo was found later that same day, Aug. 11, on the ground outside CPAA’s offices, bleeding from the head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Santa Clara County medical examiner said an autopsy is complete, but the cause of death remains undetermined.\u003c/p>\n\u003cp>The homicide unit of San Jose’s police department continues to investigate, frustrated by a lack of witnesses to the incident. No arrests have yet been made, and no suspects have been publicly named.\u003c/p>\n\u003cfigure id=\"attachment_13808057\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13808057 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg\" alt='Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the \"Red Ribbon Dance\" at the memorial for Ann Woo on September 10, 2017.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26504_Dancers-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zhou Hui, Christina Cheng, Virginia Jian, Allie Dong, Liu Yan, Wang Xin perform the “Red Ribbon Dance” at the memorial for Ann Woo on September 10, 2017. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A lifetime of achievement\u003c/h3>\n\u003cp>Woo emigrated from China to San Francisco when she was 14 years old. After graduating from UC Berkeley, she spent 30 years as an electronic design engineer, one of few women of her generation to undertake such work in Silicon Valley.\u003c/p>\n\u003cp>But Woo’s heart was always in the arts. When she retired from her tech career, she co-founded CPAA to provide low-cost dance lessons to children and adults, as well as cultivate an appreciation for Chinese culture in the wider community.\u003c/p>\n\u003cp>So great was Woo’s contribution to the South Bay arts scene that her work was the subject of \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=1tLv3zK35tE5CC9GwDvCk9QmYcCfXVA1v5LMLgyUgbjIoZycsvjUCA..&URL=https%3a%2f%2fww2.kqed.org%2farts%2f2014%2f03%2f20%2fsilicon-valley-businesswoman-builds-a-future-for-ancient-arts%2f\">a KQED Arts video\u003c/a> in 2014.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S219hCL9-QU'\n title='//www.youtube.com/embed/S219hCL9-QU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When we started, our mission was to introduce Chinese culture to the mainstream through performing arts,” Woo told KQED back in 2014. “But now, we also promote multi-culture.”\u003c/p>\n\u003cp>The center is home to 10 studios, and hosts classes in Indian, Latino and European traditions, as well as Chinese.\u003c/p>\n\u003cp>Many dignitaries attended and spoke at the memorial, ranging from local and regional politicians to the Consul General of the People’s Republic of China in San Francisco, Luo Linquan. Silent videos of past performances played on a screen while one speaker after another recounted Woo’s role in building and sustaining CPAA.\u003c/p>\n\u003cfigure id=\"attachment_13808058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808058\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg\" alt=\"Two memorial funds have been established to help Ann Woo's family and her passion project, Chinese Performing Arts of America.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/RS26505_DonationBoxes-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two memorial funds have been established to help Ann Woo’s family and her passion project, Chinese Performing Arts of America. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a testament to her impact on the community, locally and internationally,” said Woo’s daughter, Tina Fredericks, who came up from Pasadena to speak at the memorial. “My realization of her impact is still growing.”\u003c/p>\n\u003ch3>What lies ahead for CPAA\u003c/h3>\n\u003cp>At the time of Woo’s death, CPAA was struggling financially. The center’s interim director, Andy Jian, said Woo’s death occurred with the nonprofit “six figures” in debt. Jian said he is trying to negotiate with the center’s landlord and bank for a grace period as CPAA pulls itself back together.\u003c/p>\n\u003cp>There seems little question Jian and others are committed to keeping CPAA alive, not just because of Ann Woo’s lifetime of commitment to the organization, but also because of its standing in the South Bay arts community.\u003c/p>\n\u003cp>“If you’ve been to any event in Cupertino, Ann has touched your heart and soul,” said Cupertino Mayor Savita Vaidhyanathan. “I’ve been living in the city for over 20 years, and at any event I’ve been to, I’ve seen something performed by her students. Even if you do not understand Chinese — which I do not — her productions just touch your heart.”\u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"slug": "dear-trump-im-a-daca-kid-and-heres-what-youre-doing-to-us",
"title": "Dear Trump: I'm a DACA Kid—and Here's What You're Doing to Us",
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"headTitle": "Dear Trump: I’m a DACA Kid—and Here’s What You’re Doing to Us | KQED",
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"content": "\u003cp>\u003cem>Editor’s Note: “Maria” is an active member of the Bay Area arts community who, as a recipient of the Deferred Action for Childhood Arrivals program, came out as undocumented in 2012. The administration’s declaration this week to rescind the program puts her future in jeopardy, and guides our choice to protect her identity.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Dear President Trump\u003c/strong>,\u003c/p>\n\u003cp>Do you know what it’s like to live in the shadows?\u003c/p>\n\u003cp>I do. I completed kindergarten through high school in California. I wasn’t born in America, but I’ve lived here for more than 23 years. It’s the only home I’ve ever known.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My mother and I immigrated to the United States from Mexico when I was four years old. All I know about Mexico are the few stories my mother shared — of working as a maid, or a receptionist, or selling handmade hair bows on the street to support us. She could barely make ends meet, and needed to leave Mexico to escape an unhealthy relationship with my father.\u003c/p>\n\u003cp>Growing up, I felt like I couldn’t tell anyone I wasn’t born in the United States because I was scared of being deported. It was difficult going to high school knowing that even if I got good grades and went to college, I’d be unlikely to get a decent job once my employer asked me to provide proof of employment eligibility.\u003c/p>\n\u003cfigure id=\"attachment_13807915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg\" alt=\"Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had to skip out-of-state class field trips, because flying on an airplane means having to show ID and, for me, the possibility of being shipped back to Mexico and never seeing my family again. I couldn’t get a drivers license when I was 16 like the rest of my classmates. I rode my bike as a main form of transportation until 2012, when I applied for Deferred Action for Childhood Arrivals (DACA).\u003c/p>\n\u003cp>This same program that 800,000 other immigrant youth signed up for allowed me to receive a state ID, a drivers license and a work permit. I was able to come out of the shadows and meet others in my situation. I realized I was not alone. I stopped being scared of getting shipped off to Mexico where I wouldn’t understand a copy of a local newspaper because I never learned how to read or write in Spanish.\u003c/p>\n\u003cp>One of your election promises was to end DACA as soon as you came into office — but then shortly after you won the election, you said people like me could “rest easy” because you were going after criminals.\u003c/p>\n\u003cp>Does that mean you’ve labeled me a criminal after all? Should I have told my mother to leave me in Mexico to fend for myself at the age of four, or to stay with a man who never cared for us?\u003c/p>\n\u003cfigure id=\"attachment_13807916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg\" alt=\"A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-960x650.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-520x352.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I willingly completed the DACA application because it was the only way for me to obtain a legal presence in the United States. The process was long and it took me months to track down the necessary documents to apply. I had to get copies of my school records, print out five years’ worth of bank account statements, and track down a vaccine record to show proof that I’d entered the United States as a minor. I had to put my life on paper for USCIS to conduct a background check and determine if I posed a national threat. I was fingerprinted, I answered dozens of questions, and I had to figure out how to write, in just a half-page of space, why I deserved the right to work. I reapplied twice and paid nearly $500 for each two-year work permit.\u003c/p>\n\u003cp>Though I’ve lived here my whole life, the program did not make me a citizen or classify me as one. I still can’t vote, travel outside of the U.S. or apply for federal aid for college, yet the program has given me comfort. It’s allowed me to pursue my dreams of attending college, and earn a career in the arts that I’m proud of. But now that comfort is gone.\u003c/p>\n\u003cp>Have you ever had to look someone you love in the eye and then tell them everything is going to be OK when you have a sinking feeling in your heart that it’s not?\u003c/p>\n\u003cp>I have. I had to put on a strong face for my mother as I felt my heart racing with fear after U.S. Attorney General Jeff Sessions announced your decision to end the DACA program on Tuesday. I had to hide my shaking hands from her as I promised her I would be fine. Act like my dreams weren’t crushed into a million pieces. I told her I might still have two years of protection from deportation because I’d recently sent off my renewal application, even though I wasn’t sure if it would be honored.\u003c/p>\n\u003cfigure id=\"attachment_13807918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg\" alt=\"Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C.\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You publicly stated “We love the DREAMers.” Is love making someone else deliver the blow of your decision?\u003c/p>\n\u003cp>The legal eviction notice in California is 30 days — is love giving a six-month notice? Does that seem like the right amount of time to evict 800,000 immigrant youth out of the country?\u003c/p>\n\u003cp>My story is just one of many. I am one of thousands of people registered in databases somewhere in the United States who now stand to be deported and ripped from our homes.\u003c/p>\n\u003cp>You passed our fate along to Congress. I don’t have a say in what is going to happen, but technically you still do. So I urge to question your actions one more time, and ask: is this what love is?\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Maria\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: “Maria” is an active member of the Bay Area arts community who, as a recipient of the Deferred Action for Childhood Arrivals program, came out as undocumented in 2012. The administration’s declaration this week to rescind the program puts her future in jeopardy, and guides our choice to protect her identity.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>Dear President Trump\u003c/strong>,\u003c/p>\n\u003cp>Do you know what it’s like to live in the shadows?\u003c/p>\n\u003cp>I do. I completed kindergarten through high school in California. I wasn’t born in America, but I’ve lived here for more than 23 years. It’s the only home I’ve ever known.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>My mother and I immigrated to the United States from Mexico when I was four years old. All I know about Mexico are the few stories my mother shared — of working as a maid, or a receptionist, or selling handmade hair bows on the street to support us. She could barely make ends meet, and needed to leave Mexico to escape an unhealthy relationship with my father.\u003c/p>\n\u003cp>Growing up, I felt like I couldn’t tell anyone I wasn’t born in the United States because I was scared of being deported. It was difficult going to high school knowing that even if I got good grades and went to college, I’d be unlikely to get a decent job once my employer asked me to provide proof of employment eligibility.\u003c/p>\n\u003cfigure id=\"attachment_13807915\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807915\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg\" alt=\"Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \" width=\"800\" height=\"585\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-1180x863.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.CloseUp-520x380.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pro-immigration activist Omar Martinez attends a rally in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had to skip out-of-state class field trips, because flying on an airplane means having to show ID and, for me, the possibility of being shipped back to Mexico and never seeing my family again. I couldn’t get a drivers license when I was 16 like the rest of my classmates. I rode my bike as a main form of transportation until 2012, when I applied for Deferred Action for Childhood Arrivals (DACA).\u003c/p>\n\u003cp>This same program that 800,000 other immigrant youth signed up for allowed me to receive a state ID, a drivers license and a work permit. I was able to come out of the shadows and meet others in my situation. I realized I was not alone. I stopped being scared of getting shipped off to Mexico where I wouldn’t understand a copy of a local newspaper because I never learned how to read or write in Spanish.\u003c/p>\n\u003cp>One of your election promises was to end DACA as soon as you came into office — but then shortly after you won the election, you said people like me could “rest easy” because you were going after criminals.\u003c/p>\n\u003cp>Does that mean you’ve labeled me a criminal after all? Should I have told my mother to leave me in Mexico to fend for myself at the age of four, or to stay with a man who never cared for us?\u003c/p>\n\u003cfigure id=\"attachment_13807916\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807916\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg\" alt=\"A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \" width=\"800\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-960x650.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.FillOut-520x352.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A family fills out an application for Deferred Action for Childhood Arrivals (DACA), at a workshop on February 18, 2015 in New York City. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I willingly completed the DACA application because it was the only way for me to obtain a legal presence in the United States. The process was long and it took me months to track down the necessary documents to apply. I had to get copies of my school records, print out five years’ worth of bank account statements, and track down a vaccine record to show proof that I’d entered the United States as a minor. I had to put my life on paper for USCIS to conduct a background check and determine if I posed a national threat. I was fingerprinted, I answered dozens of questions, and I had to figure out how to write, in just a half-page of space, why I deserved the right to work. I reapplied twice and paid nearly $500 for each two-year work permit.\u003c/p>\n\u003cp>Though I’ve lived here my whole life, the program did not make me a citizen or classify me as one. I still can’t vote, travel outside of the U.S. or apply for federal aid for college, yet the program has given me comfort. It’s allowed me to pursue my dreams of attending college, and earn a career in the arts that I’m proud of. But now that comfort is gone.\u003c/p>\n\u003cp>Have you ever had to look someone you love in the eye and then tell them everything is going to be OK when you have a sinking feeling in your heart that it’s not?\u003c/p>\n\u003cp>I have. I had to put on a strong face for my mother as I felt my heart racing with fear after U.S. Attorney General Jeff Sessions announced your decision to end the DACA program on Tuesday. I had to hide my shaking hands from her as I promised her I would be fine. Act like my dreams weren’t crushed into a million pieces. I told her I might still have two years of protection from deportation because I’d recently sent off my renewal application, even though I wasn’t sure if it would be honored.\u003c/p>\n\u003cfigure id=\"attachment_13807918\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg\" alt=\"Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C.\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/DACA.Mother-520x355.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Six-year-old Sophie Cruz (L) of Los Angeles is held by her mother Zoyla Cruz (R) after she spoke to members of the media in front of the U.S. Supreme Court April 18, 2016 in Washington, D.C. \u003ccite>(Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You publicly stated “We love the DREAMers.” Is love making someone else deliver the blow of your decision?\u003c/p>\n\u003cp>The legal eviction notice in California is 30 days — is love giving a six-month notice? Does that seem like the right amount of time to evict 800,000 immigrant youth out of the country?\u003c/p>\n\u003cp>My story is just one of many. I am one of thousands of people registered in databases somewhere in the United States who now stand to be deported and ripped from our homes.\u003c/p>\n\u003cp>You passed our fate along to Congress. I don’t have a say in what is going to happen, but technically you still do. So I urge to question your actions one more time, and ask: is this what love is?\u003c/p>\n\u003cp>Sincerely,\u003c/p>\n\u003cp>Maria\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The award-winning film \u003ci>Lipstick Under My Burkha\u003c/i>, which was temporarily blocked from release in India by a government commission, opens in U.S. theaters this Friday. \u003c/p>\n\u003cp>Though the film premiered back in October of last year and has already played several several international film festivals, \u003ci>Lipstick Under My Burkha\u003c/i> finally will open in six theaters in California, four in the Bay Area alone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=toUFuJcMM44\u003c/p>\n\u003cp>Writer and director Alankrita Shrivastava spent the past week in Silicon Valley promoting the U.S. release of her controversial film. Her tour stops included an event at Google Headquarters and a panel talk with venture capitalist Meera Kaul at her home.\u003c/p>\n\u003cp>Shrivastava’s movie, a dramatic comedy, focuses on four Bhopal women who live in a tiny conservative village rebelling against long held taboos, many of them sexual. The independent film came under scrutiny from India’s Central Board of Film Certification (CBFC), which kept it from being released in January of this year, citing issues with its sexual nature. In its decision, the \u003ca href=\"https://mumbaimirror.indiatimes.com/entertainment/bollywood/cbfc-refuses-to-certify-prakash-jhas-film-lipstick-under-my-burkha/articleshow/57302257.cms\" target=\"_blank\" rel=\"noopener\">CBFC faulted the film\u003c/a> for being “lady oriented.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They did what they could in their power to stop the film from being exhibited,” Shrivastava said during the panel discussion with Kaul. “But what I think is interesting is that when this decision became public, the women of India really stood up.”\u003c/p>\n\u003cp>Media outlets in India focused on the film and its commentary on conservative Indian values regarding women, and Shrivastava says the controversy led to serious \u003ca href=\"http://timesofindia.indiatimes.com/entertainment/hindi/movie-reviews/lipstick-under-my-burkha/movie-review/59645392.cms\" target=\"_blank\" rel=\"noopener\">discussions about feminism\u003c/a> in her home country. \u003c/p>\n\u003cp>“For the first time, I felt that Indian mainstream media was discussing things like the \u003ca href=\"http://everydayfeminism.com/2013/05/changing-male-gaze/\" target=\"_blank\" rel=\"noopener\">male gaze\u003c/a> and how the portrayal of women has been controlled by men,” Shrivastava said.\u003c/p>\n\u003cp>Indians had opinions on the film before they had seen, Shrivastava says.\u003c/p>\n\u003cp>Shrivastava compromised with the CBFC, volunteering \u003ca href=\"http://mib.nic.in/sites/default/files/FCAT%20Order%20Lipstick%20Under%20My%20Burkha_0.pdf\" target=\"_blank\" rel=\"noopener\">more than 16 cuts\u003c/a> to the film. At the time, Shrivastava said “Of course I would have loved no cuts, but the FCAT has been very fair and clear. I feel that we will be able to release the film without hampering the narrative or diluting its essence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being approved for release, the film premiered in July in 400 theaters, which is a small number when compared to Bollywood features that will be released to 3,000 screens. Still, the controversy helped drum up support for the movie and it became a “super hit,” recovering its production costs four days after its initial release. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The award-winning film \u003ci>Lipstick Under My Burkha\u003c/i>, which was temporarily blocked from release in India by a government commission, opens in U.S. theaters this Friday. \u003c/p>\n\u003cp>Though the film premiered back in October of last year and has already played several several international film festivals, \u003ci>Lipstick Under My Burkha\u003c/i> finally will open in six theaters in California, four in the Bay Area alone.\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/toUFuJcMM44'\n title='//www.youtube.com/embed/toUFuJcMM44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Writer and director Alankrita Shrivastava spent the past week in Silicon Valley promoting the U.S. release of her controversial film. Her tour stops included an event at Google Headquarters and a panel talk with venture capitalist Meera Kaul at her home.\u003c/p>\n\u003cp>Shrivastava’s movie, a dramatic comedy, focuses on four Bhopal women who live in a tiny conservative village rebelling against long held taboos, many of them sexual. The independent film came under scrutiny from India’s Central Board of Film Certification (CBFC), which kept it from being released in January of this year, citing issues with its sexual nature. In its decision, the \u003ca href=\"https://mumbaimirror.indiatimes.com/entertainment/bollywood/cbfc-refuses-to-certify-prakash-jhas-film-lipstick-under-my-burkha/articleshow/57302257.cms\" target=\"_blank\" rel=\"noopener\">CBFC faulted the film\u003c/a> for being “lady oriented.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They did what they could in their power to stop the film from being exhibited,” Shrivastava said during the panel discussion with Kaul. “But what I think is interesting is that when this decision became public, the women of India really stood up.”\u003c/p>\n\u003cp>Media outlets in India focused on the film and its commentary on conservative Indian values regarding women, and Shrivastava says the controversy led to serious \u003ca href=\"http://timesofindia.indiatimes.com/entertainment/hindi/movie-reviews/lipstick-under-my-burkha/movie-review/59645392.cms\" target=\"_blank\" rel=\"noopener\">discussions about feminism\u003c/a> in her home country. \u003c/p>\n\u003cp>“For the first time, I felt that Indian mainstream media was discussing things like the \u003ca href=\"http://everydayfeminism.com/2013/05/changing-male-gaze/\" target=\"_blank\" rel=\"noopener\">male gaze\u003c/a> and how the portrayal of women has been controlled by men,” Shrivastava said.\u003c/p>\n\u003cp>Indians had opinions on the film before they had seen, Shrivastava says.\u003c/p>\n\u003cp>Shrivastava compromised with the CBFC, volunteering \u003ca href=\"http://mib.nic.in/sites/default/files/FCAT%20Order%20Lipstick%20Under%20My%20Burkha_0.pdf\" target=\"_blank\" rel=\"noopener\">more than 16 cuts\u003c/a> to the film. At the time, Shrivastava said “Of course I would have loved no cuts, but the FCAT has been very fair and clear. I feel that we will be able to release the film without hampering the narrative or diluting its essence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being approved for release, the film premiered in July in 400 theaters, which is a small number when compared to Bollywood features that will be released to 3,000 screens. Still, the controversy helped drum up support for the movie and it became a “super hit,” recovering its production costs four days after its initial release. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Pharma Bro' Martin Shkreli Lists his Wu-Tang Album on eBay",
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"content": "\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \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=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \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=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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