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"content": "\u003cp>Facebook is reportedly offering major record labels and music publishers hundreds of millions of dollars so its users can legally include songs in videos they upload, according to \u003ca href=\"https://www.bloomberg.com/news/articles/2017-09-05/facebook-said-to-offer-hundreds-of-millions-for-music-rights\" target=\"_blank\" rel=\"noopener noreferrer\">Bloomberg\u003c/a>.\u003c/p>\n\u003cp>The online social media giant declined to comment on what it terms “rumors and speculation.”\u003c/p>\n\u003cp>“Music to my ears,” Peter Menell writes KQED\u003cstrong>.\u003c/strong> He directs the \u003ca href=\"https://www.law.berkeley.edu/research/bclt/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Berkeley Center for Law & Technology\u003c/a>. He adds, “It does not solve the problem of how much gets back to composers/artists, but it is good to see the music and technology sectors working together to improve user experience and enjoyment of music.”\u003c/p>\n\u003cp>Apparently, many of us have been breaking copyright law uploading videos on Facebook, unless we only post videos where the copyright owner of the music used has given us permission. It’s not just music videos we’re posting, but also other videos that happen to feature music for which we and Facebook do not have the rights.\u003c/p>\n\u003cp>Most of the videos embedded on Facebook are uploaded by individuals. But in recent days, Facebook has rolled out a new video hub known as “\u003ca href=\"https://www.facebook.com/watch/?from=bookmark\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a>” through which the company curates content, including original video series financed by Facebook. That means more videos, many of them with music included. Think about it: there’s music under so much news and \u003ca href=\"https://www.facebook.com/whatsgoodinyourhood/videos/259913081186920/\" target=\"_blank\" rel=\"noopener noreferrer\">entertainment\u003c/a> we like to watch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Music copyright owners have been negotiating with Facebook in recent years, and they can ask Facebook to\u003ca href=\"https://www.facebook.com/help/1020633957973118?helpref=hc_global_nav\" target=\"_blank\" rel=\"noopener noreferrer\"> take down videos\u003c/a> with infringing material. Facebook is also working on developing tools to identify and tag music that fails to meet copyright standards.\u003c/p>\n\u003cp>Facebook’s deeper move into the world of video looks like an overt \u003cspan style=\"font-weight: 400\">attempt to rival YouTube for video traffic. \u003c/span>\u003c/p>\n\u003cp>Since 2014, users of Google’s immensely popular online video platform have been able to preemptively \u003ca href=\"http://youtubecreator.blogspot.com/2014/12/mystery-solved-what-happens-when-you.html\" target=\"_blank\" rel=\"noopener noreferrer\">anticipate\u003c/a> what will happen to their videos if they include copyrighted music. Artists and labels can a) block a video, b) mute the music, or c) run ads to make money from a video.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube also offers a large selection of \u003ca href=\"https://support.google.com/youtube/answer/3376882\" target=\"_blank\" rel=\"noopener noreferrer\">royalty-free tracks.\u003c/a>\u003c/p>\n\n",
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"excerpt": "The deal appears to be temporary, as Facebook develops a way to tag copyrighted content as YouTube does. ",
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"title": "Your 'Despacito' Upload Just Cost Facebook Millions | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Facebook is reportedly offering major record labels and music publishers hundreds of millions of dollars so its users can legally include songs in videos they upload, according to \u003ca href=\"https://www.bloomberg.com/news/articles/2017-09-05/facebook-said-to-offer-hundreds-of-millions-for-music-rights\" target=\"_blank\" rel=\"noopener noreferrer\">Bloomberg\u003c/a>.\u003c/p>\n\u003cp>The online social media giant declined to comment on what it terms “rumors and speculation.”\u003c/p>\n\u003cp>“Music to my ears,” Peter Menell writes KQED\u003cstrong>.\u003c/strong> He directs the \u003ca href=\"https://www.law.berkeley.edu/research/bclt/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Berkeley Center for Law & Technology\u003c/a>. He adds, “It does not solve the problem of how much gets back to composers/artists, but it is good to see the music and technology sectors working together to improve user experience and enjoyment of music.”\u003c/p>\n\u003cp>Apparently, many of us have been breaking copyright law uploading videos on Facebook, unless we only post videos where the copyright owner of the music used has given us permission. It’s not just music videos we’re posting, but also other videos that happen to feature music for which we and Facebook do not have the rights.\u003c/p>\n\u003cp>Most of the videos embedded on Facebook are uploaded by individuals. But in recent days, Facebook has rolled out a new video hub known as “\u003ca href=\"https://www.facebook.com/watch/?from=bookmark\" target=\"_blank\" rel=\"noopener noreferrer\">Watch\u003c/a>” through which the company curates content, including original video series financed by Facebook. That means more videos, many of them with music included. Think about it: there’s music under so much news and \u003ca href=\"https://www.facebook.com/whatsgoodinyourhood/videos/259913081186920/\" target=\"_blank\" rel=\"noopener noreferrer\">entertainment\u003c/a> we like to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Music copyright owners have been negotiating with Facebook in recent years, and they can ask Facebook to\u003ca href=\"https://www.facebook.com/help/1020633957973118?helpref=hc_global_nav\" target=\"_blank\" rel=\"noopener noreferrer\"> take down videos\u003c/a> with infringing material. Facebook is also working on developing tools to identify and tag music that fails to meet copyright standards.\u003c/p>\n\u003cp>Facebook’s deeper move into the world of video looks like an overt \u003cspan style=\"font-weight: 400\">attempt to rival YouTube for video traffic. \u003c/span>\u003c/p>\n\u003cp>Since 2014, users of Google’s immensely popular online video platform have been able to preemptively \u003ca href=\"http://youtubecreator.blogspot.com/2014/12/mystery-solved-what-happens-when-you.html\" target=\"_blank\" rel=\"noopener noreferrer\">anticipate\u003c/a> what will happen to their videos if they include copyrighted music. Artists and labels can a) block a video, b) mute the music, or c) run ads to make money from a video.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube also offers a large selection of \u003ca href=\"https://support.google.com/youtube/answer/3376882\" target=\"_blank\" rel=\"noopener noreferrer\">royalty-free tracks.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Premieres From SF Playhouse and Ubuntu Jolt Our Sense of Goodness",
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"content": "\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.",
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"description": "Kirsten Greenidge’s 'Zenith' and Philip Kan Gotanda’s 'Rashomon' are welcome reminders that dread is a special emotion that should never be underestimated.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just as the summer is winding down, along come two plays — strange fever dreams that jolt our sense of the good and the bad.\u003c/p>\n\u003cp>These world premieres — Kirsten Greenidge’s \u003cem>Zenith\u003c/em>, under the auspices of the SF Playhouse’s Sandbox series, and noted Bay Area playwright Philip Kan Gotanda’s \u003cem>Rashomon\u003c/em>, produced by the always-resourceful Ubuntu Theater Project — are welcome reminders that dread is a special emotion that should never be underestimated, even in the waning days of our brightest season.\u003c/p>\n\u003ch2>\u003cem>Zenith\u003c/em>: A no-escape tragedy\u003c/h2>\n\u003cfigure id=\"attachment_13806771\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806771\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg\" alt=\"Angela (Atim Udoffia) caught in the haunted guise of a failed saint.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith2-e1503995454674.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela (Atim Udoffia) caught in the haunted guise of a failed saint. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Zenith\u003c/em> is a no-escape tragedy whose brutality is a function of increasing knowledge. The play begins with Angela (a remarkable Atim Udoffia), a woman who is overcome with terror when she gets a glimpse of one of those majestic baby chairs that the Whole Foods class loves. You know right away that things are going to end badly and that knowledge shades every moment that follows.\u003c/p>\n\u003cp>Angela turns out to be Aunt Angela, and she’s trying to convince her uptight and wealthier sister-in-law, Hazel, that what Hazel’s three girls need is a camping trip with their fun-loving, freedom-inspiring aunt. The hidden jabs of privilege and class slip through what should be a light-hearted conversation between two African-American women. After all, they’ve both managed to secure some part of what we might still call the American dream.\u003c/p>\n\u003cp>When Hazel panics at Angela giving her daughters knives, Angela’s response is an odd mix of concern, moral certainty, and aggression: “You cannot baby them you can not,” the character says. “My dad had us using those things when we were four. I told the girls we’ll bust them out first thing, so they’re getting them.” There it is, the first hint of pride that will destroy our hero, a woman who has lived a life of unparalleled goodness, a saint of sacrifice and shepherd of hope.\u003c/p>\n\u003cfigure id=\"attachment_13806773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806773\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg\" alt=\"Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun.\" width=\"800\" height=\"442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-800x442.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1020x563.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-960x530.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-375x207.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954-520x287.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Zenith3-e1503996094954.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Front and center, Angela (Atim Udoffia) drives (R to L) her sister-in-law Hazel (Nia Fairweather) and a friend (India Wilmott) for a night of fun. \u003ccite>(Photo: Ken Levin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenidge understands that a life of good deeds is just as likely to end in total havoc as it will in graceful thanks and warm testimonials. At times her vision of Angela’s fall feels over-determined in the play’s headlong rush to tragedy, but at its best moments \u003cem>Zenith\u003c/em> bristles with a disarming naturalism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can feel it in the way the exceptionally talented cast seems to live calmly on the edge of disaster, as if their characters never quite imagine the dangers we so easily intuit. And then when the world comes crashing down, that quality is still there in the off-handed way they express great and lasting loss. It’s a languid, horrid vision of everyday despair and a primer on what happens when your most trusted saint cracks and fails.\u003c/p>\n\u003ch2>\u003cem>Rashomon\u003c/em>: A slippery treatise on the power of lying\u003c/h2>\n\u003cfigure id=\"attachment_13806802\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806802\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg\" alt=\"The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Rashomon_001h-Christine-Jamlig-Lady-and-Ogie-Zulueta-Bandit-in-Rashomon-1-e1504041479620.jpg 1899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lady (Christine Jamlig) and the Bandit (Ogie Zulueta) replay their encounter over and over again. \u003ccite>(Photo:)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Akira Kurosowa’s \u003cem>Rashomon\u003c/em> has become cultural shorthand for the notion that everyone has a different take on the truth. Phillip Kan Gotanda’s adaptation of the famous 1950 what’s-actually-going-on-here crime film suggests that everyone lies to protect the truth and that the lies keep us from the disaster of total revelation. Or, flipped upside down, lies are the paradise we wish to preserve — and everything else, true or not, is filigree, a bit of honey, butter, and fancy flourishes to keep us going.\u003c/p>\n\u003cp>Like Kurosawa’s film, Gotanda gives us two sets of narrators — a priest, a woodcutter, and a wigmaker who tell the story of another set of narrators — a bandit, a samurai, and the samurai’s wife. The supposed questions are: who killed the samurai and why is everyone eager, including the dead samurai, to take the credit?\u003c/p>\n\u003cp>We also get another narrator, a writer, Akutagawa, an odd young man overly invested in these stories. He exists outside the main timeframe, might even be the creator of everything before us. Or for reasons undetermined, the samurai’s death might be overtaking him. Whatever the case, he’s fun. He mumbles the lines at the edge of the stage, comments on the action, finds some things gross, others enticing. He gets a kick out of the lies, and because he does, so do we.\u003c/p>\n\u003cfigure id=\"attachment_13807318\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807318\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg\" alt=\"The Samurai (Jomar Tagatac) is pensive and should be in 'Rashomon' by Phillip Kan Gotanda.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Rashomon_0544-Jomar-Tagatac-Woodcutter-by-Simone-Finney-e1504313052933.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Samurai (Jomar Tagatac) is pensive and should be in ‘Rashomon’ by Phillip Kan Gotanda. \u003ccite>(Photo: Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gotanda can be a vexing writer, capable of graceful bits of daring and clunky exposition within the same scene. His \u003cem>Rashomon\u003c/em> jumps off the rails at least five times and then jumps right back on with equal force and vision. Michael Socrates Moran’s visually astute direction and a strong cast mute some of the play’s imperfections, but what carries the day is Gotanda’s outrage at a world of venal storytellers.\u003c/p>\n\u003cp>That their lies are also glorious, intoxicating, and kind of fun is more than a bit disquieting. It was the way of the world then, and it is the way of the world now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Zenith’ runs through Sunday, Sept. 10 at the Costume Shop in San Francisco. For tickets and information \u003ca href=\"https://www.sfplayhouse.org/sfph/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rashomon’ runs through Sunday, Sept. 17 at Brooklyn Grove in Oakland. For tickets and information \u003ca href=\"http://www.ubuntutheaterproject.com/rashomon/\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \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=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \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=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift's 'Look What You Made Me Do' Breaks Records, Stops 'Despacito' Short",
"headTitle": "Taylor Swift’s ‘Look What You Made Me Do’ Breaks Records, Stops ‘Despacito’ Short | KQED",
"content": "\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3tmd-ClpJxA\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=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Since its release on Aug. 25, the first single from \u003cem>Reputation\u003c/em> has broken records all over the place — and cost the year's biggest single a historic notch in its belt.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3tmd-ClpJxA'\n title='//www.youtube.com/embed/3tmd-ClpJxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Shoe Should Fit: One Woman's Fight for Emoji Ballet Flats",
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"content": "\u003cp>As the number and variety of emojis grow, the language is gradually becoming more diverse and reflective of the people who use it. Its progress plods along one emoji at a time, propelled by women like Florie Hutchinson.\u003c/p>\n\u003cp>Hutchinson is a vivacious independent public relations specialist in the arts. She’s also a busy mom with three young girls, and a dedicated feminist.\u003c/p>\n\u003cp>One night not too long ago, Hutchinson was up in the wee hours breastfeeding her youngest at her home in Palo Alto. While texting a friend in another time zone, and she typed in the word “shoe.”\u003c/p>\n\u003cfigure id=\"attachment_13807140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg\" alt=\"Florie Hutchinson and her daughter Beatrice mug for the camera.\" width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-520x680.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florie Hutchinson and her daughter Beatrice mug for the camera. \u003ccite>(Photo: Courtesy of Florie Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I realized I was staring, slightly deliriously, at this red, high-heeled stiletto,” Hutchinson says. Was that her phone anticipating her preference as a woman? As if most women wear a shoe better suited to a Barbie doll?\u003c/p>\n\u003cp>With a little digital leg work, Hutchinson discovered there are \u003ca href=\"http://unicode.org/emoji/charts/emoji-list.html#1f1f8_1f1e9\" target=\"_blank\" rel=\"noopener noreferrer\">four other shoe emojis\u003c/a>, but all three female shoes involve a heel: the red stilleto, the mule, and the riding boot. Unless you type in the word sneaker, the stiletto appears to be the default.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She asked friends of various ages, genders and nationalities to type “shoe” – and they got the stiletto, too, “Whether they were typing in shoe, or chaussure or zapato.”\u003c/p>\n\u003cp>Hutchinson doesn’t think early emoji designers were intentionally trying to bake in stereotypical gender norms. Nonetheless, that’s the result, and as our usage of the visual language \u003ca href=\"https://www.theparisreview.org/blog/2017/08/18/emoji-poetry/\" target=\"_blank\" rel=\"noopener noreferrer\">grows\u003c/a>, so does the impact of unconscious choices.\u003c/p>\n\u003cp>“Being a mum, I’ve become very aware and hypersensitive to what I see is implicit gender bias, something that is pervasive in every aspect of life from the age of zero onwards,” Hutchinson said.\u003c/p>\n\u003cfigure id=\"attachment_13807141\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807141\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png\" alt=\"It's not that Florie Hutchinson doesn't wear a heel for a date night or the opera. She just wants there to be a "non-sexualized" female option.\" width=\"480\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-240x240.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-375x375.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-150x150.png 150w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">It’s not that Florie Hutchinson doesn’t wear a heel for a date night or the opera. She just wants there to be a “non-sexualized” female option.\u003c/figcaption>\u003c/figure>\n\u003cp>But how to influence the discussion as a PR Lady with no experience or contacts in tech? Cue the obvious Google search: “How do emoji get made?” And the first result is the Unicode Consortium, the non-profit in Mountain View that maintains a global, standardized list of approved emoji.\u003c/p>\n\u003cp>The web site’s FAQ includes a lot of helpful history. The Japanese were the first to use pictographs — images of things such as faces, weather, vehicles and buildings, food and drink, animals and plants — or icons that represent emotions, feelings, or activities. Hence, the word \u003cem>emoji\u003c/em> comes from the Japanese \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E7%B5%B5\" target=\"_blank\" rel=\"noopener noreferrer\">絵\u003c/a> (e ≅ picture) + \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E6%96%87\" target=\"_blank\" rel=\"noopener noreferrer\">文\u003c/a>\u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E5%AD%97\" target=\"_blank\" rel=\"noopener noreferrer\">字\u003c/a>(moji ≅ written character).\u003c/p>\n\u003cp>The consortium’s emoji subcommittee meets four times a year to approve or deny new proposals. Yet, even with this deliberative approach, some emoji prove far more useful and appealing than others, a fact dramatically visualized at \u003ca href=\"http://www.emojitracker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">emojitracker.com\u003c/a>, which tracks the realtime use of many emoji in Twitter.\u003c/p>\n\u003cp>It’s a young language, and it continues to evolve. Even though there are already nearly \u003ca href=\"http://www.unicode.org/reports/tr51/#Identification\" target=\"_blank\" rel=\"noopener noreferrer\">2,700 emoji\u003c/a>, the Consortium is wide open to new proposals.\u003c/p>\n\u003cp>Hutchinson was impressed with how easy the Consortium makes it to understand the \u003ca href=\"http://unicode.org/emoji/selection.html\" target=\"_blank\" rel=\"noopener noreferrer\">application process\u003c/a>. “There are lots of templates on the Unicode web site, some of successful emoji proposals, some of unsuccessful ones. And it’s just a matter of making a compelling case for why it should exist and why the existing emoji don’t do the job that you’re looking to do with your emoji.”\u003c/p>\n\u003cp>\u003cstrong>Do your homework; then hire a designer\u003c/strong>\u003c/p>\n\u003cp>It does help to hire a professional designer. \u003ca href=\"http://www.apheemesser.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aphee Messer\u003c/a> wears a sandal whenever weather permits in Lincoln, Nebraska, and so she practically leapt on board the project. “You can look at it as a baby step, but I think any steps towards more diversity on the emoji keyboard are great,” says Messer, whose best known emoji may be the recently approved hijab.\u003c/p>\n\u003cfigure id=\"attachment_13807142\" class=\"wp-caption alignright\" style=\"max-width: 341px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807142 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hijab.png\" alt=\"Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn't one.\" width=\"341\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab.png 341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-240x343.png 240w\" sizes=\"(max-width: 341px) 100vw, 341px\">\u003cfigcaption class=\"wp-caption-text\">Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn’t one. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early July, Hutchinson submitted a proposal for a \u003ca href=\"http://www.unicode.org/L2/L2017/17274-womans-flat-shoe.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">ballet flat\u003c/a> in multiple hues, ” anything except pink!” Within a month of applying, her emoji appeared on the Consortium’s \u003ca href=\"http://nymag.com/selectall/2017/08/67-emoji-drafts-considered-for-2018-addition-by-unicode.html\" target=\"_blank\" rel=\"noopener noreferrer\">draft list\u003c/a> for consideration… The final decision comes out in November.\u003c/p>\n\u003cp>“I couldn’t believe it!” exclaims Hutchinson. “That this crazy idea that I got in the middle of the night would actually become a reality, and even if it doesn’t make it through, which I sincerely hope it does, I can honestly turn to my girls when they’re preteens or older and say, you know, this was important to me and I did something about it, and it was not only for me but also for you.”\u003c/p>\n\u003cp>Any plans for a follow-up? “I have my eyes on a one piece swimsuit,” Hutchinson says, before adding “To be honest, what I’d love is for more women to take some time to go through the emoji and think about what in their daily lives isn’t reflected in this global vocabulary that we’re building.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You have your marching orders.\u003c/p>\n\u003cfigure id=\"attachment_13807138\" class=\"wp-caption aligncenter\" style=\"max-width: 601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807138 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BalletFlat.png\" alt=\"If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue.\" width=\"601\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat.png 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-520x323.png 520w\" sizes=\"(max-width: 601px) 100vw, 601px\">\u003cfigcaption class=\"wp-caption-text\">If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"title": "The Shoe Should Fit: One Woman's Fight for Emoji Ballet Flats | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the number and variety of emojis grow, the language is gradually becoming more diverse and reflective of the people who use it. Its progress plods along one emoji at a time, propelled by women like Florie Hutchinson.\u003c/p>\n\u003cp>Hutchinson is a vivacious independent public relations specialist in the arts. She’s also a busy mom with three young girls, and a dedicated feminist.\u003c/p>\n\u003cp>One night not too long ago, Hutchinson was up in the wee hours breastfeeding her youngest at her home in Palo Alto. While texting a friend in another time zone, and she typed in the word “shoe.”\u003c/p>\n\u003cfigure id=\"attachment_13807140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg\" alt=\"Florie Hutchinson and her daughter Beatrice mug for the camera.\" width=\"800\" height=\"1047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-800x1047.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-768x1005.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-375x491.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/IMG_2371-520x680.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Florie Hutchinson and her daughter Beatrice mug for the camera. \u003ccite>(Photo: Courtesy of Florie Hutchinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I realized I was staring, slightly deliriously, at this red, high-heeled stiletto,” Hutchinson says. Was that her phone anticipating her preference as a woman? As if most women wear a shoe better suited to a Barbie doll?\u003c/p>\n\u003cp>With a little digital leg work, Hutchinson discovered there are \u003ca href=\"http://unicode.org/emoji/charts/emoji-list.html#1f1f8_1f1e9\" target=\"_blank\" rel=\"noopener noreferrer\">four other shoe emojis\u003c/a>, but all three female shoes involve a heel: the red stilleto, the mule, and the riding boot. Unless you type in the word sneaker, the stiletto appears to be the default.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She asked friends of various ages, genders and nationalities to type “shoe” – and they got the stiletto, too, “Whether they were typing in shoe, or chaussure or zapato.”\u003c/p>\n\u003cp>Hutchinson doesn’t think early emoji designers were intentionally trying to bake in stereotypical gender norms. Nonetheless, that’s the result, and as our usage of the visual language \u003ca href=\"https://www.theparisreview.org/blog/2017/08/18/emoji-poetry/\" target=\"_blank\" rel=\"noopener noreferrer\">grows\u003c/a>, so does the impact of unconscious choices.\u003c/p>\n\u003cp>“Being a mum, I’ve become very aware and hypersensitive to what I see is implicit gender bias, something that is pervasive in every aspect of life from the age of zero onwards,” Hutchinson said.\u003c/p>\n\u003cfigure id=\"attachment_13807141\" class=\"wp-caption alignright\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807141\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png\" alt=\"It's not that Florie Hutchinson doesn't wear a heel for a date night or the opera. She just wants there to be a "non-sexualized" female option.\" width=\"480\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large.png 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-240x240.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-375x375.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/HIgh_Heel_Shoe_Emoji_large-150x150.png 150w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">It’s not that Florie Hutchinson doesn’t wear a heel for a date night or the opera. She just wants there to be a “non-sexualized” female option.\u003c/figcaption>\u003c/figure>\n\u003cp>But how to influence the discussion as a PR Lady with no experience or contacts in tech? Cue the obvious Google search: “How do emoji get made?” And the first result is the Unicode Consortium, the non-profit in Mountain View that maintains a global, standardized list of approved emoji.\u003c/p>\n\u003cp>The web site’s FAQ includes a lot of helpful history. The Japanese were the first to use pictographs — images of things such as faces, weather, vehicles and buildings, food and drink, animals and plants — or icons that represent emotions, feelings, or activities. Hence, the word \u003cem>emoji\u003c/em> comes from the Japanese \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E7%B5%B5\" target=\"_blank\" rel=\"noopener noreferrer\">絵\u003c/a> (e ≅ picture) + \u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E6%96%87\" target=\"_blank\" rel=\"noopener noreferrer\">文\u003c/a>\u003ca href=\"http://www.unicode.org/cgi-bin/GetUnihanData.pl?codepoint=%E5%AD%97\" target=\"_blank\" rel=\"noopener noreferrer\">字\u003c/a>(moji ≅ written character).\u003c/p>\n\u003cp>The consortium’s emoji subcommittee meets four times a year to approve or deny new proposals. Yet, even with this deliberative approach, some emoji prove far more useful and appealing than others, a fact dramatically visualized at \u003ca href=\"http://www.emojitracker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">emojitracker.com\u003c/a>, which tracks the realtime use of many emoji in Twitter.\u003c/p>\n\u003cp>It’s a young language, and it continues to evolve. Even though there are already nearly \u003ca href=\"http://www.unicode.org/reports/tr51/#Identification\" target=\"_blank\" rel=\"noopener noreferrer\">2,700 emoji\u003c/a>, the Consortium is wide open to new proposals.\u003c/p>\n\u003cp>Hutchinson was impressed with how easy the Consortium makes it to understand the \u003ca href=\"http://unicode.org/emoji/selection.html\" target=\"_blank\" rel=\"noopener noreferrer\">application process\u003c/a>. “There are lots of templates on the Unicode web site, some of successful emoji proposals, some of unsuccessful ones. And it’s just a matter of making a compelling case for why it should exist and why the existing emoji don’t do the job that you’re looking to do with your emoji.”\u003c/p>\n\u003cp>\u003cstrong>Do your homework; then hire a designer\u003c/strong>\u003c/p>\n\u003cp>It does help to hire a professional designer. \u003ca href=\"http://www.apheemesser.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Aphee Messer\u003c/a> wears a sandal whenever weather permits in Lincoln, Nebraska, and so she practically leapt on board the project. “You can look at it as a baby step, but I think any steps towards more diversity on the emoji keyboard are great,” says Messer, whose best known emoji may be the recently approved hijab.\u003c/p>\n\u003cfigure id=\"attachment_13807142\" class=\"wp-caption alignright\" style=\"max-width: 341px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807142 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hijab.png\" alt=\"Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn't one.\" width=\"341\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab.png 341w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hijab-240x343.png 240w\" sizes=\"(max-width: 341px) 100vw, 341px\">\u003cfigcaption class=\"wp-caption-text\">Aphee Messer has designed numerous emoji. She created this one of a girl in a hijab on behalf of a 15-year-old from Germany who realized there wasn’t one. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early July, Hutchinson submitted a proposal for a \u003ca href=\"http://www.unicode.org/L2/L2017/17274-womans-flat-shoe.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">ballet flat\u003c/a> in multiple hues, ” anything except pink!” Within a month of applying, her emoji appeared on the Consortium’s \u003ca href=\"http://nymag.com/selectall/2017/08/67-emoji-drafts-considered-for-2018-addition-by-unicode.html\" target=\"_blank\" rel=\"noopener noreferrer\">draft list\u003c/a> for consideration… The final decision comes out in November.\u003c/p>\n\u003cp>“I couldn’t believe it!” exclaims Hutchinson. “That this crazy idea that I got in the middle of the night would actually become a reality, and even if it doesn’t make it through, which I sincerely hope it does, I can honestly turn to my girls when they’re preteens or older and say, you know, this was important to me and I did something about it, and it was not only for me but also for you.”\u003c/p>\n\u003cp>Any plans for a follow-up? “I have my eyes on a one piece swimsuit,” Hutchinson says, before adding “To be honest, what I’d love is for more women to take some time to go through the emoji and think about what in their daily lives isn’t reflected in this global vocabulary that we’re building.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You have your marching orders.\u003c/p>\n\u003cfigure id=\"attachment_13807138\" class=\"wp-caption aligncenter\" style=\"max-width: 601px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13807138 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/BalletFlat.png\" alt=\"If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue.\" width=\"601\" height=\"373\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat.png 601w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-240x149.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-375x233.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/BalletFlat-520x323.png 520w\" sizes=\"(max-width: 601px) 100vw, 601px\">\u003cfigcaption class=\"wp-caption-text\">If the ballet flat wins final approval from the Unicode Consortium, it will show up in blue. \u003ccite>(Photo: Courtesy of Aphee Messer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Steely Dan's Walter Becker Dies At 67",
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"content": "\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ea3Bofkmwlc\u003c/p>\n\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\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/ea3Bofkmwlc'\n title='//www.youtube.com/embed/ea3Bofkmwlc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Houston's Jazz Envoys Describe a Vibrant Scene Deluged, and Worry for its Future",
"headTitle": "Houston’s Jazz Envoys Describe a Vibrant Scene Deluged, and Worry for its Future | KQED",
"content": "\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Thelonious Monk Estate Sues Brewery Over Merchandise",
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"content": "\u003cp>The legacy of jazz pioneer Thelonious Monk may have been tarnished by one brewery’s gratuitous use of his face on its merchandise, his estate claims in a lawsuit filed on Wednesday.\u003c/p>\n\u003cp>The Monk estate, which is managed by the legendary pianist’s son T.S. Monk, is suing North Coast Brewing in San Francisco federal court for trademark infringement and a series of other violations. \u003ca href=\"http://www.sfgate.com/beer/article/Thelonious-Monk-estate-sues-North-Coast-Brewing-12162234.php\">According to a report by SFGate\u003c/a>, they are seeking over $75,000 in damages.\u003c/p>\n\u003cp>In the suit, the Monk estate alleges that it granted the Fort Bragg-based brewery verbal permission to use his visage for its Brother Thelonious beer. \u003ca href=\"http://www.northcoastbrewing.com/beers/year-round-beers/brother-thelonious-belgian-style-abbey-ale/\">The popular beer, \u003c/a>which was introduced in 2005, is a Belgian-style ale that puns Monk’s name by dressing him in monk’s garb for the beer’s packaging.\u003c/p>\n\u003cfigure id=\"attachment_13807276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg\" alt=\"Thelonious Monk performs in an undated and unlocated picture\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thelonious Monk performs in an undated and unlocated picture. \u003ccite>(Photo: AFP/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was one caveat to this deal: For using Monk’s likeness, North Coast would donate a portion of its profits from Brother Thelonious beer sales to the \u003ca href=\"http://monkinstitute.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Thelonious Monk Institute of Jazz \u003c/a>— a non-profit that promotes jazz education and performance.\u003c/p>\n\u003cp>The Monk estate rescinded the agreement in January 2016, when it was discovered that the brewery had used the musician’s likeness on an assortment of merchandise, including T-shirts, iron-on patches and soap bars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lawsuit states that the brewery has failed to compensate the estate for its use of Monk’s image. It is unclear if North Coast is donating proceeds from its jazzed-up “beer gear” to the Monk Institute.\u003c/p>\n\u003cp>North Coast also sponsors jazz festivals throughout Northern California, where they sell Brother Thelonious and other brews. The company brands itself as the “Official Brewery Partner” of the Monterey Jazz Festival. (Fittingly, Thelonious Monk performed at the Festival four times between 1963 and 1972.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of press time, North Coast Brewing is still selling Brother Thelonious merchandise on its website.\u003c/p>\n\n",
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"excerpt": "The lawsuit claims that North Coast Brewery used Monk's likeness in tees and soap bars without permission",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The legacy of jazz pioneer Thelonious Monk may have been tarnished by one brewery’s gratuitous use of his face on its merchandise, his estate claims in a lawsuit filed on Wednesday.\u003c/p>\n\u003cp>The Monk estate, which is managed by the legendary pianist’s son T.S. Monk, is suing North Coast Brewing in San Francisco federal court for trademark infringement and a series of other violations. \u003ca href=\"http://www.sfgate.com/beer/article/Thelonious-Monk-estate-sues-North-Coast-Brewing-12162234.php\">According to a report by SFGate\u003c/a>, they are seeking over $75,000 in damages.\u003c/p>\n\u003cp>In the suit, the Monk estate alleges that it granted the Fort Bragg-based brewery verbal permission to use his visage for its Brother Thelonious beer. \u003ca href=\"http://www.northcoastbrewing.com/beers/year-round-beers/brother-thelonious-belgian-style-abbey-ale/\">The popular beer, \u003c/a>which was introduced in 2005, is a Belgian-style ale that puns Monk’s name by dressing him in monk’s garb for the beer’s packaging.\u003c/p>\n\u003cfigure id=\"attachment_13807276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807276\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg\" alt=\"Thelonious Monk performs in an undated and unlocated picture\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/T-Monk.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thelonious Monk performs in an undated and unlocated picture. \u003ccite>(Photo: AFP/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was one caveat to this deal: For using Monk’s likeness, North Coast would donate a portion of its profits from Brother Thelonious beer sales to the \u003ca href=\"http://monkinstitute.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Thelonious Monk Institute of Jazz \u003c/a>— a non-profit that promotes jazz education and performance.\u003c/p>\n\u003cp>The Monk estate rescinded the agreement in January 2016, when it was discovered that the brewery had used the musician’s likeness on an assortment of merchandise, including T-shirts, iron-on patches and soap bars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lawsuit states that the brewery has failed to compensate the estate for its use of Monk’s image. It is unclear if North Coast is donating proceeds from its jazzed-up “beer gear” to the Monk Institute.\u003c/p>\n\u003cp>North Coast also sponsors jazz festivals throughout Northern California, where they sell Brother Thelonious and other brews. The company brands itself as the “Official Brewery Partner” of the Monterey Jazz Festival. (Fittingly, Thelonious Monk performed at the Festival four times between 1963 and 1972.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As of press time, North Coast Brewing is still selling Brother Thelonious merchandise on its website.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Shelley Berman, who won gold records and appeared on top television shows in the 1950s and 1960s delivering wry monologues about the annoyances of everyday life, has died. He was 92.\u003c/p>\n\u003cp>Berman died Friday at his home in Bell Canyon, California, from complications from Alzheimer’s disease, according to spokesman Glenn Schwartz.\u003c/p>\n\u003cp>Berman was a pioneer of a new brand of comedy that could evoke laughter from such matters as air travel discomforts and small children who answer the telephone. He helped pave the way for Bob Newhart, Woody Allen, Jerry Seinfeld and other standup comedians who fashioned their routines around the follies and frustrations of modern living.\u003c/p>\n\u003cp>Late in his career, he played Nat David, father of Larry David, on HBO’s \u003cem>Curb Your Enthusiasm\u003c/em>. With dialogue improvised by its cast, the comedy series gave Berman the opportunity to return to his improv roots and introduced him to a new generation of TV viewers.\u003c/p>\n\u003cp>“I’m not a standup comedian,” Berman often insisted. “I work on a stool.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Comedy was not a childhood ambition for him. He trained as an actor, with the Goodman School of Drama in his native Chicago and with the prestigious actress-teacher Uta Hagen in New York.\u003c/p>\n\u003cp>“I had dreams of being an actor,” he said in a 1960 interview. “For 10 years I tried, picking up small jobs in summer stock and TV. I had a hard time of it.”\u003c/p>\n\u003cp>As a last resort, he put together a 20-minute routine and auditioned at the Chicago nightclub Mister Kelly’s. He was given a job, and then he had to scramble to write more material for a half-hour show.\u003c/p>\n\u003cp>“I was always one of those life-of-the-party boys,” he admitted, “though I never stooped to wearing women’s hats or lampshades. I was always making people laugh, in school and later in life.”\u003c/p>\n\u003cp>Berman’s success in Chicago led to a booking in Las Vegas. He bombed. The gamblers didn’t laugh nor did they talk. Accustomed to slam-bang comics out of vaudeville and burlesque, they listened in amazement to the guy sitting on a stool and using big words with a routine that often consisted of one side of a make-believe phone call.\u003c/p>\n\u003cp>He continued on the saloon circuit, honing his craft and deciding on which direction to go. He didn’t fit any category. He wasn’t a joke teller nor a “sick” comedian. He figured he was a “humanist humorist.”\u003c/p>\n\u003cp>Berman made the first of many appearances on \u003cem>The Ed Sullivan Show\u003c/em> in 1959. That year he issued his first album, \u003cem>Inside Shelley Berman\u003c/em>. It won a gold record and received the first-ever Grammy Award for the spoken word. Two more albums achieved gold status.\u003c/p>\n\u003cp>Along with his busy schedule in nightclubs and auditoriums, he fulfilled his first ambition to be an actor. He appeared in a Broadway play, \u003cem>The Boys Against the Girls\u003c/em>, in 1959 and a musical, \u003cem>A Family Affair\u003c/em>, in 1962. His film debut came in 1964 with the adaptation of Gore Vidal’s hit political stage drama \u003cem>The Best Man\u003c/em>, starring Henry Fonda and Cliff Robertson.\u003c/p>\n\u003cp>Berman’s comedy career stalled in 1963. He was performing his act before an audience for a documentary-style NBC show, \u003cem>Comedian Backstage\u003c/em>, when a telephone ringing interrupted him; it was the second night it happened. He stormed backstage and ranted at everyone in sight. His outburst, edited to make him appear temperamental, was included in the telecast.\u003c/p>\n\u003cp>“Once you’re known as being difficult, it becomes too hard to deal with management and even fellow artists,” he remarked in 1986. The bookings fell off, and Berman returned to acting, with little luck. He and his wife, Sarah, were forced to file for bankruptcy, and he began a long struggle to pay off his taxes and creditors.\u003c/p>\n\u003cp>He found work in television series such as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rawhide\u003c/em> and \u003cem>Peter Gunn\u003c/em> and occasional movies including \u003cem>Divorce American Style\u003c/em>. He became active in regional theater and also worked his old routines before college and lecture audiences.\u003c/p>\n\u003cp>For more than 20 years he taught comedy at the University of Southern California.\u003c/p>\n\u003cp>In recent years, he landed guest roles on series including \u003cem>The King of Queens\u003c/em>,\u003cem> Boston Legal\u003c/em> and \u003cem>CSI: NY\u003c/em>, and appeared in the film \u003cem>Meet the Fockers\u003c/em>.\u003c/p>\n\u003cp>He retired from performing in 2014 after being diagnosed with Alzheimer’s disease.\u003c/p>\n\u003cp>Sheldon Leonard Berman was born in Chicago and attended public schools. After training as an actor, he joined an improvisational company in Chicago, Compass Players, the beginning of the famed Second City. Watching his fellow performers, Mike Nichols and Elaine May, Berman said in 2000, “I learned more in two weeks than I did in four years at Goodman.”\u003c/p>\n\u003cp>He married in 1947, and he credited Sarah with helping him to survive through his jobless period while trying to be a comedian, the bankruptcy, the rebuilding of his career and the loss of their son, Joshua. They also had a daughter, Rachel, who, along with his wife, survives him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Berman said of his marriage: “The love we have and the way it has grown, that’s what I’d like to be remembered for.”\u003cbr>\n___\u003cbr>\nThe late Associated Press entertainer writer Bob Thomas contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Shelley Berman, who won gold records and appeared on top television shows in the 1950s and 1960s delivering wry monologues about the annoyances of everyday life, has died. He was 92.\u003c/p>\n\u003cp>Berman died Friday at his home in Bell Canyon, California, from complications from Alzheimer’s disease, according to spokesman Glenn Schwartz.\u003c/p>\n\u003cp>Berman was a pioneer of a new brand of comedy that could evoke laughter from such matters as air travel discomforts and small children who answer the telephone. He helped pave the way for Bob Newhart, Woody Allen, Jerry Seinfeld and other standup comedians who fashioned their routines around the follies and frustrations of modern living.\u003c/p>\n\u003cp>Late in his career, he played Nat David, father of Larry David, on HBO’s \u003cem>Curb Your Enthusiasm\u003c/em>. With dialogue improvised by its cast, the comedy series gave Berman the opportunity to return to his improv roots and introduced him to a new generation of TV viewers.\u003c/p>\n\u003cp>“I’m not a standup comedian,” Berman often insisted. “I work on a stool.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Comedy was not a childhood ambition for him. He trained as an actor, with the Goodman School of Drama in his native Chicago and with the prestigious actress-teacher Uta Hagen in New York.\u003c/p>\n\u003cp>“I had dreams of being an actor,” he said in a 1960 interview. “For 10 years I tried, picking up small jobs in summer stock and TV. I had a hard time of it.”\u003c/p>\n\u003cp>As a last resort, he put together a 20-minute routine and auditioned at the Chicago nightclub Mister Kelly’s. He was given a job, and then he had to scramble to write more material for a half-hour show.\u003c/p>\n\u003cp>“I was always one of those life-of-the-party boys,” he admitted, “though I never stooped to wearing women’s hats or lampshades. I was always making people laugh, in school and later in life.”\u003c/p>\n\u003cp>Berman’s success in Chicago led to a booking in Las Vegas. He bombed. The gamblers didn’t laugh nor did they talk. Accustomed to slam-bang comics out of vaudeville and burlesque, they listened in amazement to the guy sitting on a stool and using big words with a routine that often consisted of one side of a make-believe phone call.\u003c/p>\n\u003cp>He continued on the saloon circuit, honing his craft and deciding on which direction to go. He didn’t fit any category. He wasn’t a joke teller nor a “sick” comedian. He figured he was a “humanist humorist.”\u003c/p>\n\u003cp>Berman made the first of many appearances on \u003cem>The Ed Sullivan Show\u003c/em> in 1959. That year he issued his first album, \u003cem>Inside Shelley Berman\u003c/em>. It won a gold record and received the first-ever Grammy Award for the spoken word. Two more albums achieved gold status.\u003c/p>\n\u003cp>Along with his busy schedule in nightclubs and auditoriums, he fulfilled his first ambition to be an actor. He appeared in a Broadway play, \u003cem>The Boys Against the Girls\u003c/em>, in 1959 and a musical, \u003cem>A Family Affair\u003c/em>, in 1962. His film debut came in 1964 with the adaptation of Gore Vidal’s hit political stage drama \u003cem>The Best Man\u003c/em>, starring Henry Fonda and Cliff Robertson.\u003c/p>\n\u003cp>Berman’s comedy career stalled in 1963. He was performing his act before an audience for a documentary-style NBC show, \u003cem>Comedian Backstage\u003c/em>, when a telephone ringing interrupted him; it was the second night it happened. He stormed backstage and ranted at everyone in sight. His outburst, edited to make him appear temperamental, was included in the telecast.\u003c/p>\n\u003cp>“Once you’re known as being difficult, it becomes too hard to deal with management and even fellow artists,” he remarked in 1986. The bookings fell off, and Berman returned to acting, with little luck. He and his wife, Sarah, were forced to file for bankruptcy, and he began a long struggle to pay off his taxes and creditors.\u003c/p>\n\u003cp>He found work in television series such as \u003cem>The Twilight Zone\u003c/em>, \u003cem>Rawhide\u003c/em> and \u003cem>Peter Gunn\u003c/em> and occasional movies including \u003cem>Divorce American Style\u003c/em>. He became active in regional theater and also worked his old routines before college and lecture audiences.\u003c/p>\n\u003cp>For more than 20 years he taught comedy at the University of Southern California.\u003c/p>\n\u003cp>In recent years, he landed guest roles on series including \u003cem>The King of Queens\u003c/em>,\u003cem> Boston Legal\u003c/em> and \u003cem>CSI: NY\u003c/em>, and appeared in the film \u003cem>Meet the Fockers\u003c/em>.\u003c/p>\n\u003cp>He retired from performing in 2014 after being diagnosed with Alzheimer’s disease.\u003c/p>\n\u003cp>Sheldon Leonard Berman was born in Chicago and attended public schools. After training as an actor, he joined an improvisational company in Chicago, Compass Players, the beginning of the famed Second City. Watching his fellow performers, Mike Nichols and Elaine May, Berman said in 2000, “I learned more in two weeks than I did in four years at Goodman.”\u003c/p>\n\u003cp>He married in 1947, and he credited Sarah with helping him to survive through his jobless period while trying to be a comedian, the bankruptcy, the rebuilding of his career and the loss of their son, Joshua. They also had a daughter, Rachel, who, along with his wife, survives him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Berman said of his marriage: “The love we have and the way it has grown, that’s what I’d like to be remembered for.”\u003cbr>\n___\u003cbr>\nThe late Associated Press entertainer writer Bob Thomas contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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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.",
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"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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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"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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"hidden-brain": {
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"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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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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