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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This appears to be a targeted incident,” Tan later told Bay City News. Tan could not provide more details.\u003c/p>\n\u003cp>Williams had performed in Oakland at \u003ca href=\"https://vivalahiphop.com/2017/07/12/keak-da-sneak-at-complex-oakland/\" target=\"_blank\" rel=\"noopener\">The Complex\u003c/a> the night before.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tan reported that Williams was in stable condition by late Monday afternoon. An Instagram post from fellow rapper Mistah FAB stated that Williams survived surgery, but the post has since been taken down. \u003c/p>\n\u003cp>Social media lit up with condolences and prayers for the Oakland-born rapper following the news of his shooting.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The incident Monday morning is the second time this year that Williams was reported to have been shot. In January, \u003ca href=\"https://www.instagram.com/p/BPiT7xggdBA/\" target=\"_blank\" rel=\"noopener\">All Bay Music Magazine\u003c/a> posted on Instagram that Williams was shot but did not provide any details from police. The following day, Williams appeared to have confirmed the incident on his Instagram account, saying “You’ll never understand how valuable life is until it flash before ya eyes,” \u003ca href=\"http://www.xxlmag.com/news/2017/01/bay-area-rapper-keak-da-sneak-shot/\" target=\"_blank\" rel=\"noopener\">according to XXL magazine\u003c/a>. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In May, Williams was arrested for \u003ca href=\"http://www.eastbaytimes.com/2017/05/30/east-bay-rapper-arrested-on-probation-violation/\" target=\"_blank\" rel=\"noopener\">a parole violation\u003c/a> in Hercules. \u003c/p>\n\u003cp>Williams is considered the godfather of hyphy, a fast-paced subgenre of hip-hop born in the Bay Area known for inspiring a frenetic style of dancing. Williams coined the phrase \u003ca href=\"http://www.complex.com/music/2016/06/hyphy-oral-history\" target=\"_blank\" rel=\"noopener\">“hyphy” back in 1994\u003c/a>, and artists such as Mac Dre and E-40 helped Williams perfect the sound in the 2000s. Known for his gruff voice and bass-heavy beats, Williams had hits in the mid ’00s with tracks like “White T-shirt, Blue Jeans, and Nikes” and “Super Hyphy.”\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/L9G8aN4YZQU'\n title='//www.youtube.com/embed/L9G8aN4YZQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In June, Keak Da Sneak released the single “Thunderdome,” which teased an upcoming album.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jerry Lewis, Comic Icon and Titan of Telethons, Dies at 91",
"headTitle": "Jerry Lewis, Comic Icon and Titan of Telethons, Dies at 91 | KQED",
"content": "\u003cp>Jerry Lewis, a comedic fixture on big screens and charity telethons for decades, has died at the age of 91.\u003c/p>\n\u003cp>His death was first reported by the Las Vegas Review-Journal and confirmed by NPR with his publicist and spokeswoman.\u003c/p>\n\u003cp>Cazau provided the following statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“Famed comedian, actor, and legendary entertainer Jerry Lewis passed away peacefully today of natural causes at 91 at his home in Las Vegas with his family by his side.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The son of small-time entertainers who were always on the road, Lewis spent a lot of time with a rotating cast of relatives. As he told TV interviewer David Susskind in 1965: “I was a rent-a kid-a-day club, you know? Who wants Jerry this week?”\u003c/p>\n\u003cfigure id=\"attachment_13806073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg\" alt=\"Dean Martin and Jerry Lewis in 1953.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13806073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin and Jerry Lewis in 1953. \u003ccite>(Express Newspapers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he got a bit older, he stepped on stage himself and gradually developed his own act — but it was not until 1945, when he met the suave singer Dean Martin, that he found broad stardom. Lewis was just 19; Martin was 28. Together as an odd-couple team over the next decade, Martin and Lewis went on to become the highest-paid comedy act in the U.S., earn their own radio and TV shows, and delight audiences with 16 films.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They were paying for two men to let an audience see how much fun they were having, and the love that went on between the older guy and the younger guy,” Lewis \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4973590\" target->told Fresh Air’s Terry Gross\u003c/a> in 2005. “When we were able to project that to an audience, we had them in our pockets from Day 1.”\u003c/p>\n\u003cp>The partnership fell apart in 1956, and Martin and Lewis hardly spoke to each other for decades after — but, Lewis said, “we never, ever fell out of love.”\u003c/p>\n\u003cfigure id=\"attachment_13806065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg\" alt=\"Dean Martin (center) sits with Lewis in 1953 at a boxing match.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin (center) sits with Lewis in 1953 at a boxing match. \u003ccite>(Topical Press Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going solo freed Lewis to write, direct and star in his own movies. An early adopter of new film and video technology, he pioneered the now-standard practice of placing a video monitor on the film camera to provide immediate feedback to the director on how a scene looks. He used the technique for all of the films he directed — including his biggest hit, \u003cem>The Nutty Professor\u003c/em>.\u003c/p>\n\u003cp>In that comedic spin on \u003cem>The Strange Case Of Dr Jekyll And Mr Hyde\u003c/em>, Lewis plays both the eponymous academic and chemically liberated id, the smug hipster Buddy Love. Co-star Stella Stevens says that when it came time for Lewis to revert from irresistible bully to shy professor Julius Kelp, he could hardly bear to do it.\u003c/p>\n\u003cp>“Jerry Lewis was as much a chick magnet as Dean Martin was at all times. He did have all those qualities. He didn’t add something in that was not him,” she recalls of Love, Lewis’ twist on Hyde. “Those are probably his fondest wishes of how he could be bad … and that was the baddest he could think of.”\u003c/p>\n\u003cp>https://twitter.com/BBCArchive/status/842288088021852160\u003c/p>\n\u003cp>Biographer Shawn Levy said Lewis’ struggle was not surprising, given the almost confessional air about the film.\u003c/p>\n\u003cp>“There’s something very, very personal about that film, very revelatory,” he says.\u003c/p>\n\u003cp>“Jerry as a solo director and performer made a lot of films about multiple personalities,” Levy continues, “there’s two Jerry Lewises in \u003cem>The Bellboy\u003c/em>, there’s five or six in \u003cem>The Family Jewels\u003c/em>, there’s three in \u003cem>Three On A Couch\u003c/em> … but in \u003cem>The Nutty Professor,\u003c/em> I think it’s the only one where you have a contrast between the nebbish Professor Kelp, who invents something, and then this guy who kind of destroys it, who much more resembled the off-camera Jerry Lewis than any other character he ever played.”\u003c/p>\n\u003cp>Levy says that Lewis could be brusque and self-confident. Martin Scorsese, who directed Lewis in \u003cem>The King of Comedy\u003c/em>, says Lewis could be intimidating, too.\u003c/p>\n\u003cp>“Could be gracious, could be difficult, and is the kind of person who walks into his office or an area and people just move aside,” Scorsese says, adding that Lewis was also a great filmmaker — “very precise, very brilliant,” right up there with Buster Keaton and Charlie Chaplin.\u003c/p>\n\u003cp>A notoriously prickly personality, Lewis also had a nagging habit of stirring controversy — especially “with insensitive remarks about women, gays and people with disabilities,” as \u003ca href=\"http://www.npr.org/2011/09/02/140095847/end-of-an-era-a-telethon-without-jerry-lewis\" target->NPR’s Pam Fessler reported in 2011\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13806067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg\" alt=\"Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy. \u003ccite>(Don Rypka/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Scorsese directed him in 1983, Lewis’ own filmmaking career had largely stalled — but Lewis had found another spotlight in 1966, leading live telethons on behalf of the \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiF7q260q7UAhUFxYMKHUA3DCwQFgg6MAA&url=https%3A%2F%2Fwww.mda.org%2F&usg=AFQjCNHNaCq9SbN39Qw8n10NQV3NwYujnQ&sig2=o66I6-h3p2btxfPJvvfH2A\" target->Muscular Dystrophy Association\u003c/a>. In nearly half a century of hosting the telethon, he helped raise more than $2 billion to combat the disease and aid its youngest victims, dubbed “Jerry’s Kids.”\u003c/p>\n\u003cp>And Lewis was such an entertainment powerhouse early in his career that he’d acquired the rights to his films, which allowed him to cash in on Eddie Murphy’s 1996 \u003cem>Nutty Professor\u003c/em> remake and its 2000 sequel. In 2012 Lewis turned \u003cem>The Nutty Professor\u003c/em> into a stage musical, which he directed himself, at the age of 86.\u003c/p>\n\u003cp>For all his success, innovation and popularity — \u003ca href=\"http://www.vanityfair.com/culture/2013/07/french-love-jerry-lewis-paris\" target->notably in France\u003c/a>, where the government gave him the Legion of Honor, the country’s highest civilian award — Lewis was never much of a hit with the critics. He received few honors for his acting or directing before his lifetime achievement awards, such as the Oscars’ Jean Hersholt humanitarian award, began rolling in.\u003c/p>\n\u003cp>Still, he never retired, starring as recently as 2016 in the film \u003cem>Max Rose\u003c/em>. When asked by the \u003cem>Hollywood Reporter\u003c/em> — in a \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-lewis-interview-painful-awkward-awful-7-minutes-watch-957115\" target->remarkable case study\u003c/a> of Lewis’ often abrasive manner — why he and other older comedians kept actively working, Lewis answered simply: “Because we do it well.”\u003c/p>\n\u003cp>And “I would do it again in a heartbeat,” Lewis told Gross in 2005.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“To hear an audience laugh — you go to any extreme, because that’s your lot in life.” \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=Jerry+Lewis%2C+Comic+Icon+And+Titan+Of+Telethons%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Lewis, a comedic fixture on big screens and charity telethons for decades, has died at the age of 91.\u003c/p>\n\u003cp>His death was first reported by the Las Vegas Review-Journal and confirmed by NPR with his publicist and spokeswoman.\u003c/p>\n\u003cp>Cazau provided the following statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“Famed comedian, actor, and legendary entertainer Jerry Lewis passed away peacefully today of natural causes at 91 at his home in Las Vegas with his family by his side.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The son of small-time entertainers who were always on the road, Lewis spent a lot of time with a rotating cast of relatives. As he told TV interviewer David Susskind in 1965: “I was a rent-a kid-a-day club, you know? Who wants Jerry this week?”\u003c/p>\n\u003cfigure id=\"attachment_13806073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg\" alt=\"Dean Martin and Jerry Lewis in 1953.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13806073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin and Jerry Lewis in 1953. \u003ccite>(Express Newspapers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he got a bit older, he stepped on stage himself and gradually developed his own act — but it was not until 1945, when he met the suave singer Dean Martin, that he found broad stardom. Lewis was just 19; Martin was 28. Together as an odd-couple team over the next decade, Martin and Lewis went on to become the highest-paid comedy act in the U.S., earn their own radio and TV shows, and delight audiences with 16 films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They were paying for two men to let an audience see how much fun they were having, and the love that went on between the older guy and the younger guy,” Lewis \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4973590\" target->told Fresh Air’s Terry Gross\u003c/a> in 2005. “When we were able to project that to an audience, we had them in our pockets from Day 1.”\u003c/p>\n\u003cp>The partnership fell apart in 1956, and Martin and Lewis hardly spoke to each other for decades after — but, Lewis said, “we never, ever fell out of love.”\u003c/p>\n\u003cfigure id=\"attachment_13806065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg\" alt=\"Dean Martin (center) sits with Lewis in 1953 at a boxing match.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin (center) sits with Lewis in 1953 at a boxing match. \u003ccite>(Topical Press Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going solo freed Lewis to write, direct and star in his own movies. An early adopter of new film and video technology, he pioneered the now-standard practice of placing a video monitor on the film camera to provide immediate feedback to the director on how a scene looks. He used the technique for all of the films he directed — including his biggest hit, \u003cem>The Nutty Professor\u003c/em>.\u003c/p>\n\u003cp>In that comedic spin on \u003cem>The Strange Case Of Dr Jekyll And Mr Hyde\u003c/em>, Lewis plays both the eponymous academic and chemically liberated id, the smug hipster Buddy Love. Co-star Stella Stevens says that when it came time for Lewis to revert from irresistible bully to shy professor Julius Kelp, he could hardly bear to do it.\u003c/p>\n\u003cp>“Jerry Lewis was as much a chick magnet as Dean Martin was at all times. He did have all those qualities. He didn’t add something in that was not him,” she recalls of Love, Lewis’ twist on Hyde. “Those are probably his fondest wishes of how he could be bad … and that was the baddest he could think of.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Biographer Shawn Levy said Lewis’ struggle was not surprising, given the almost confessional air about the film.\u003c/p>\n\u003cp>“There’s something very, very personal about that film, very revelatory,” he says.\u003c/p>\n\u003cp>“Jerry as a solo director and performer made a lot of films about multiple personalities,” Levy continues, “there’s two Jerry Lewises in \u003cem>The Bellboy\u003c/em>, there’s five or six in \u003cem>The Family Jewels\u003c/em>, there’s three in \u003cem>Three On A Couch\u003c/em> … but in \u003cem>The Nutty Professor,\u003c/em> I think it’s the only one where you have a contrast between the nebbish Professor Kelp, who invents something, and then this guy who kind of destroys it, who much more resembled the off-camera Jerry Lewis than any other character he ever played.”\u003c/p>\n\u003cp>Levy says that Lewis could be brusque and self-confident. Martin Scorsese, who directed Lewis in \u003cem>The King of Comedy\u003c/em>, says Lewis could be intimidating, too.\u003c/p>\n\u003cp>“Could be gracious, could be difficult, and is the kind of person who walks into his office or an area and people just move aside,” Scorsese says, adding that Lewis was also a great filmmaker — “very precise, very brilliant,” right up there with Buster Keaton and Charlie Chaplin.\u003c/p>\n\u003cp>A notoriously prickly personality, Lewis also had a nagging habit of stirring controversy — especially “with insensitive remarks about women, gays and people with disabilities,” as \u003ca href=\"http://www.npr.org/2011/09/02/140095847/end-of-an-era-a-telethon-without-jerry-lewis\" target->NPR’s Pam Fessler reported in 2011\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13806067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg\" alt=\"Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy. \u003ccite>(Don Rypka/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Scorsese directed him in 1983, Lewis’ own filmmaking career had largely stalled — but Lewis had found another spotlight in 1966, leading live telethons on behalf of the \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiF7q260q7UAhUFxYMKHUA3DCwQFgg6MAA&url=https%3A%2F%2Fwww.mda.org%2F&usg=AFQjCNHNaCq9SbN39Qw8n10NQV3NwYujnQ&sig2=o66I6-h3p2btxfPJvvfH2A\" target->Muscular Dystrophy Association\u003c/a>. In nearly half a century of hosting the telethon, he helped raise more than $2 billion to combat the disease and aid its youngest victims, dubbed “Jerry’s Kids.”\u003c/p>\n\u003cp>And Lewis was such an entertainment powerhouse early in his career that he’d acquired the rights to his films, which allowed him to cash in on Eddie Murphy’s 1996 \u003cem>Nutty Professor\u003c/em> remake and its 2000 sequel. In 2012 Lewis turned \u003cem>The Nutty Professor\u003c/em> into a stage musical, which he directed himself, at the age of 86.\u003c/p>\n\u003cp>For all his success, innovation and popularity — \u003ca href=\"http://www.vanityfair.com/culture/2013/07/french-love-jerry-lewis-paris\" target->notably in France\u003c/a>, where the government gave him the Legion of Honor, the country’s highest civilian award — Lewis was never much of a hit with the critics. He received few honors for his acting or directing before his lifetime achievement awards, such as the Oscars’ Jean Hersholt humanitarian award, began rolling in.\u003c/p>\n\u003cp>Still, he never retired, starring as recently as 2016 in the film \u003cem>Max Rose\u003c/em>. When asked by the \u003cem>Hollywood Reporter\u003c/em> — in a \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-lewis-interview-painful-awkward-awful-7-minutes-watch-957115\" target->remarkable case study\u003c/a> of Lewis’ often abrasive manner — why he and other older comedians kept actively working, Lewis answered simply: “Because we do it well.”\u003c/p>\n\u003cp>And “I would do it again in a heartbeat,” Lewis told Gross in 2005.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dick Gregory, the comedian and civil rights crusader, died Saturday. He was 84.\u003c/p>\n\u003cp>His family announced the news on his public Facebook page.\u003c/p>\n\u003cp>“It is with enormous sadness that the Gregory family confirms that their father, comedic legend and civil rights activist Mr. Dick Gregory departed this earth tonight in Washington, DC,” his son Christian Gregory said \u003ca href=\"https://www.facebook.com/photo.php?fbid=1434025330008029&set=a.115692181841357.20207.100002017283937&type=3&theater\">in the post\u003c/a>. “The family appreciates the outpouring of support and love and respectfully asks for their privacy as they grieve during this very difficult time. More details will be released over the next few days.”\u003c/p>\n\u003cp>According to The Associated Press, Gregory, who was recently in and out of the hospital, died following a severe bacterial infection. NPR has not independently confirmed the cause of death.\u003c/p>\n\u003cp>After falling ill earlier this month, he was readmitted to the hospital last Saturday, his son says in a Thursday \u003ca href=\"https://www.facebook.com/photo.php?fbid=1431897746887454&set=a.115692181841357.20207.100002017283937&type=3&theater\">Facebook post\u003c/a>: He “remains hospitalized with a serious but stable medical condition. His prognosis is excellent and he should be released within the next few days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003cem>News\u003c/em> & \u003cem>Notes\u003c/em> host Ed Gordon noted in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4749316\">2005 interview\u003c/a> with the comedian, he’s also an inspired health guru, who doled out advice to many for better living, including celebrities like Michael Jackson, who he advised during the singer’s trial. The musician Questlove \u003ca href=\"https://www.instagram.com/p/BYALMNCnVSO/\">paid tribute\u003c/a> to Gregory’s healthful influence on Instagram, as “one of the first major black figures I saw advocating for a healthier lifestyle for black folks that were caught on unhealthy choices we’ve made in the name of cheaper survival options,” he wrote. \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=Dick+Gregory%2C+Comedian+And+Civil+Rights+Activist%2C+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dick Gregory, the comedian and civil rights crusader, died Saturday. He was 84.\u003c/p>\n\u003cp>His family announced the news on his public Facebook page.\u003c/p>\n\u003cp>“It is with enormous sadness that the Gregory family confirms that their father, comedic legend and civil rights activist Mr. Dick Gregory departed this earth tonight in Washington, DC,” his son Christian Gregory said \u003ca href=\"https://www.facebook.com/photo.php?fbid=1434025330008029&set=a.115692181841357.20207.100002017283937&type=3&theater\">in the post\u003c/a>. “The family appreciates the outpouring of support and love and respectfully asks for their privacy as they grieve during this very difficult time. More details will be released over the next few days.”\u003c/p>\n\u003cp>According to The Associated Press, Gregory, who was recently in and out of the hospital, died following a severe bacterial infection. NPR has not independently confirmed the cause of death.\u003c/p>\n\u003cp>After falling ill earlier this month, he was readmitted to the hospital last Saturday, his son says in a Thursday \u003ca href=\"https://www.facebook.com/photo.php?fbid=1431897746887454&set=a.115692181841357.20207.100002017283937&type=3&theater\">Facebook post\u003c/a>: He “remains hospitalized with a serious but stable medical condition. His prognosis is excellent and he should be released within the next few days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Preparation for Monday’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/541132645/heres-what-you-need-to-know-about-the-total-solar-eclipse\" target=\"_blank\" rel=\"noopener\">solar eclipse\u003c/a> has focused on \u003ca href=\"https://eclipse2017.nasa.gov/safety\" target=\"_blank\" rel=\"noopener\">safe viewing\u003c/a> techniques: Don’t forget to don those special “eclipse glasses.” But you also may want to insert earbuds, because the ever-intrepid \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> will be making music with the sun in real time as the eclipse unfolds. You can stream it live on this page on Monday, Aug. 21, beginning at 12:15 p.m. EDT.\u003c/p>\n\u003cp>Wayne Grim, a composer based at the \u003ca href=\"https://www.exploratorium.edu/eclipse\" target=\"_blank\" rel=\"noopener\">Exploratorium\u003c/a>, San Francisco’s science museum, has devised a way to turn what is essentially a silent viewing event into a musical one as well. He calls it the “sonification” of the eclipse.\u003c/p>\n\u003cp>At the sun’s core, subatomic particles smash into each other. Grim plans to soak up the resulting nuclear fusion and turn it into notes. Photons from the fusion, captured by telescopes in Casper, Wyo., are converted to pixels. Those are sent back into space and relayed via satellite to the Exploratorium, where Kronos is on stage. Grim’s special software recasts each pixel’s digital fingerprint into unique tones. Kronos will perform with the sounds of the sun, adapting as the eclipse comes and goes.\u003c/p>\n\u003cp>Grim has pre-baked part of the music, organizing samples from the quartet into a colorful score with 23 cells that looks more like a collage than your standard staff notation. There aren’t any specific instructions; it’s a kind of road map to follow as the eclipse proceeds.\u003c/p>\n\u003cp>This is Grim’s initial collaboration with Kronos, but it isn’t his first time with “sonification.” He created musical evocations of the 2012 transit of Venus and last year’s total solar eclipse in Micronesia. \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=The+Sun%2C+The+Moon+And+A+String+Quartet%3A+Kronos+Plays+Live+To+The+Solar+Eclipse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Preparation for Monday’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/541132645/heres-what-you-need-to-know-about-the-total-solar-eclipse\" target=\"_blank\" rel=\"noopener\">solar eclipse\u003c/a> has focused on \u003ca href=\"https://eclipse2017.nasa.gov/safety\" target=\"_blank\" rel=\"noopener\">safe viewing\u003c/a> techniques: Don’t forget to don those special “eclipse glasses.” But you also may want to insert earbuds, because the ever-intrepid \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> will be making music with the sun in real time as the eclipse unfolds. You can stream it live on this page on Monday, Aug. 21, beginning at 12:15 p.m. EDT.\u003c/p>\n\u003cp>Wayne Grim, a composer based at the \u003ca href=\"https://www.exploratorium.edu/eclipse\" target=\"_blank\" rel=\"noopener\">Exploratorium\u003c/a>, San Francisco’s science museum, has devised a way to turn what is essentially a silent viewing event into a musical one as well. He calls it the “sonification” of the eclipse.\u003c/p>\n\u003cp>At the sun’s core, subatomic particles smash into each other. Grim plans to soak up the resulting nuclear fusion and turn it into notes. Photons from the fusion, captured by telescopes in Casper, Wyo., are converted to pixels. Those are sent back into space and relayed via satellite to the Exploratorium, where Kronos is on stage. Grim’s special software recasts each pixel’s digital fingerprint into unique tones. Kronos will perform with the sounds of the sun, adapting as the eclipse comes and goes.\u003c/p>\n\u003cp>Grim has pre-baked part of the music, organizing samples from the quartet into a colorful score with 23 cells that looks more like a collage than your standard staff notation. There aren’t any specific instructions; it’s a kind of road map to follow as the eclipse proceeds.\u003c/p>\n\u003cp>This is Grim’s initial collaboration with Kronos, but it isn’t his first time with “sonification.” He created musical evocations of the 2012 transit of Venus and last year’s total solar eclipse in Micronesia. \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=The+Sun%2C+The+Moon+And+A+String+Quartet%3A+Kronos+Plays+Live+To+The+Solar+Eclipse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In light of the neo-Nazi march at Charlottesville — and President Donald Trump’s tacit acceptance of the march in an address — bestselling authors Michael Chabon and Ayelet Waldman have posted a fiery plea calling for the global Jewish community to denounce the Trump administration.\u003c/p>\n\u003cp>Waldman and Chabon, who live in Berkeley, published the open letter to “our fellow Jews, in the United States, in Israel, and around the world” \u003ca href=\"https://medium.com/@vanzorn/to-our-fellow-jews-in-the-united-states-in-israel-and-around-the-world-ff421a1d325d\" target=\"_blank\" rel=\"noopener\">on Medium\u003c/a> Thursday. The piece has since been shared over 26,000 times via Facebook.\u003c/p>\n\u003cp>The letter begins with the married couple of 24 years listing the ways in which some members of the Jewish community may have held off on rejecting Trump since his inauguration.\u003c/p>\n\u003cp>They specifically target “Steven Mnuchin, Gary Cohn, and our other fellow Jews currently serving under this odious regime,” requesting for their resignation — and for Trump’s head legal counsel Michael D. Cohen to part ways with the President.\u003c/p>\n\u003cp>The two also reserved some choice words for Jared Kushner, Trump’s son-in-law and adviser:\u003c/p>\n\u003cblockquote>\u003cp>You have one minute to do whatever it takes to keep the history of your people from looking back on you as among its greatest traitors, and greatest fools; that minute is nearly past.\u003c/p>\u003c/blockquote>\n\u003cp>Notably, the letter also cautions casino magnate Sheldon Adelson and the Israeli government to “wise up” in light of Trump’s statements. Adelson contributed \u003ca href=\"http://thehill.com/homenews/news/329462-casino-magnate-gave-5-million-to-trumps-inauguration\" target=\"_blank\" rel=\"noopener\">$5 million to Trump’s inauguration committee\u003c/a> — the largest sum ever given to any president’s inauguration committee. And while the office of Israeli prime minister Benjamin Netanyahu tweeted out a statement on Monday following the events at Charlottesville, Netanyahu has come under fire for not issuing an official condemnation of Trump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The letter concludes: “Any Jew, anywhere, who does not act to oppose President Donald Trump and his administration acts in favor of anti-Semitism; any Jew who does not condemn the President, directly and by name, for his racism, white supremacism, intolerance and Jew hatred condones all of those things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chabon, the author of \u003cem>Telegraph Avenue\u003c/em> and last year’s \u003cem>Moonglow\u003c/em>, and Waldman, who may be best known for her \u003cem>Mommy-Track\u003c/em> series and her writing on \u003ca href=\"https://www.nytimes.com/2017/01/07/style/microdosing-lsd-ayelet-waldman-michael-chabon-marriage.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">motherhood\u003c/a> and \u003ca href=\"http://www.nytimes.com/2005/03/27/fashion/truly-madly-guiltily.html?mcubz=3%20and%20LSD%20microdosing\" target=\"_blank\" rel=\"noopener\">LSD microdosing\u003c/a>, aren’t ones to back down from tense political dialogue. Last May, the two authors were among 400 who petitioned against Trump’s presidency. This past May, they published a collection of essays on the Israeli occupation of the West Bank.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The letter concludes: “Any Jew, anywhere, who does not act to oppose President Donald Trump and his administration acts in favor of anti-Semitism; any Jew who does not condemn the President, directly and by name, for his racism, white supremacism, intolerance and Jew hatred condones all of those things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chabon, the author of \u003cem>Telegraph Avenue\u003c/em> and last year’s \u003cem>Moonglow\u003c/em>, and Waldman, who may be best known for her \u003cem>Mommy-Track\u003c/em> series and her writing on \u003ca href=\"https://www.nytimes.com/2017/01/07/style/microdosing-lsd-ayelet-waldman-michael-chabon-marriage.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">motherhood\u003c/a> and \u003ca href=\"http://www.nytimes.com/2005/03/27/fashion/truly-madly-guiltily.html?mcubz=3%20and%20LSD%20microdosing\" target=\"_blank\" rel=\"noopener\">LSD microdosing\u003c/a>, aren’t ones to back down from tense political dialogue. Last May, the two authors were among 400 who petitioned against Trump’s presidency. This past May, they published a collection of essays on the Israeli occupation of the West Bank.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Journey were inducted into the \u003ca href=\"https://www.youtube.com/watch?v=2XyCKJ-Z9dA\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall Of Fame\u003c/a> six months ago — but ever since, instead of riding high, the band has been plagued with drama. \u003c/p>\n\u003cp>Last week, headlines nationwide declared internal strife amongst the kings of ’80s radio due to the presidency of Donald Trump. Guitarist and founding member Neal Schon posted angrily on social media about three of his bandmates visiting the Trump White House on July 31 without him — a visit, he says, the band previously agreed not to do. \u003c/p>\n\u003cp>“Everybody’s entitled to like and believe what they want but when we’ve had this discussion many many times it was always a no,” Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/893300303260471296\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>. “Least a heads up since it is a band and one that I started. I think Managment (sic) could let me know.”\u003c/p>\n\u003cp>To hear publications like \u003ca href=\"http://www.spin.com/2017/08/journey-donald-trump-tension/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a> and Variety tell it, the band were steps away from breaking up and going their \u003ca href=\"https://www.youtube.com/watch?v=LatorN4P9aA\" target=\"_blank\" rel=\"noopener\">separate ways\u003c/a> — a believable notion, as the band had gone though a previous public row two months prior, with Schon claiming that keyboardist Jonathan Cain, the band’s walking ballad factory and a practicing Christian, wanted Journey to play gospel music.\u003c/p>\n\u003cp>But for music journalist Joel Selvin, who covered the band for years in the pages of the \u003cem>San Francisco Chronicle\u003c/em>, the members of Journey fighting with each other is nothing new. When the band was at the top of its game in the early ’80s, frontman Steve Perry exerted control over the group, leading to frequent battling. As detailed in the band’s episode of VH1’s \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=kJivmiZIY6o\" target=\"_blank\" rel=\"noopener\">Behind The Music\u003c/a>,\u003c/i> Perry was the first to eschew the band’s team dynamics, and Selvin says the band never recovered. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They don’t like each other and they’re tied together financially. They don’t even like the band anymore,” Selvin says.\u003c/p>\n\u003cfigure id=\"attachment_13805713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg\" alt=\"(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey performs at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey perform at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Selvin should know. One of his oldest friends is former Journey manager Walter “Herbie” Herbert, the band’s \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Walsh_(American_football_coach)\" target=\"_blank\" rel=\"noopener\">Bill Walsh\u003c/a>, who guided them from playing jazzy prog-rock for a dedicated following to mainstream radio dominance. Before the band fired Herbert in 1993, he’d helped turn Journey into the \u003ca href=\"http://www.rollingstone.com/music/features/journey-the-platinum-game-plan-19800612\" target=\"_blank\" rel=\"noopener\">hit factory everyone knows\u003c/a> — pushing the band to focus on songwriting, finding Steve Perry, and setting up the business side so that their fortunes were equal to their fame. When the band was inducted into the Rock and Roll Hall Of Fame back in April, each member thanked Herbert for his work.\u003c/p>\n\u003cp>Now Herbert says he’s been watching the drama from afar, and is disappointed in the band’s quarreling. \u003c/p>\n\u003cp>“It’s a tragedy,” Herbert says. “It’s all rooted in financial issues, and it’s too bad because it could be the undoing of what is a great business.”\u003c/p>\n\u003cp>Herbert says the band’s problems stem from one source — Neal Schon. Herbert discovered Schon when he was 15 years old and, after bringing him into the Santana band, he helped the now-guitar hero found Journey in 1973. Herbert has stayed in touch with Schon since parting ways with the band; Schon even sent Herbert YouTube videos of singer Arnel Pineda before the Filipino phenom was brought in as vocalist in 2007. But now Herbert says Schon has taken over the “Steve Perry role” in the band, referencing the former lead singer’s divisive tenure. \u003c/p>\n\u003cfigure id=\"attachment_13805738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg\" alt=\"Herbie Herbert during Journey's induction into the Rock and Roll Hall of Fame\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF.jpg 1369w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Herbert during Journey’s induction into the Rock and Roll Hall of Fame. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For years and years and years, I treated him like a son. Towards the end there, I would introduce him as, ‘This is Neal Schon, my son. He just didn’t turn out that well.’ It would always be good for a laugh,” Herbert says. “You know the old saying: half in jest and half serious. But then it was getting more and more serious.” \u003c/p>\n\u003cp>Journey has yet to reply to requests for comment. But looking at Schon’s social media posts, it appears that much of the fighting centers around Cain’s recent embrace of \u003ca href=\"http://1059thebrew.iheart.com/content/2017-06-05-journeys-neal-schon-and-jonathan-cain-are-apparently-at-odds-over-politics-religion-band-direction/\" target=\"_blank\" rel=\"noopener\">evangelical Christianity\u003c/a> and his new wife Paula White, the televangelist who also \u003ca href=\"https://www.nytimes.com/2017/01/19/us/trumps-pastor-paula-white.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">serves as Trump’s spiritual adviser\u003c/a>. Schon has posted videos and other statements \u003ca href=\"https://twitter.com/NealSchonMusic/status/892981470796685312\" target=\"_blank\" rel=\"noopener\">critical of White\u003c/a>, and has repeatedly stated that the band he founded “\u003ca href=\"http://ultimateclassicrock.com/neal-schon-journey-feud/\" target=\"_blank\" rel=\"noopener\">doesn’t need to be tagged with any one religion or politics\u003c/a>.” \u003c/p>\n\u003cp>But Herbert says he’s welcomed Cain’s newfound evangelicalism with \u003ca href=\"https://www.youtube.com/watch?v=2lLmYLw0WRI\" target=\"_blank\" rel=\"noopener\">open arms\u003c/a>. Herbert had issues with Cain from the moment he \u003ca href=\"https://www.facebook.com/schonmusic/photos/p.1507783739282096/1507783739282096/\" target=\"_blank\" rel=\"noopener\">brought him into the group,\u003c/a> and yet the “borderline atheist” says finding God has made the keyboardist “a better Jon Cain.”\u003c/p>\n\u003cp>“I’d love to be able to say the same for Neal and what he’s doing with his life,” Herbert says.\u003c/p>\n\u003caside class=\"aligncenter\">\nhttps://youtu.be/MSi1yV0laeA?t=28s\n\u003cp>\u003ci>Video showing Journey’s Jonathan Cain telling Paula White’s congregation that married couples should watch porn together.\u003c/i>\u003c/p>\n\u003c/aside>\n\u003cp>Along with bitter tweets about his feud with Cain, Schon has discussed going off to do other projects, such as \u003ca href=\"https://twitter.com/NealSchonMusic/status/891215357041664000\" target=\"_blank\" rel=\"noopener\">a blues project\u003c/a> with former Bad English singer John Waite. But if he breaks up Journey, Schon would lose his biggest moneymaking venture, which Herbert insists would be “stupid on steroids” considering Schon’s many financial obligations.\u003c/p>\n\u003cp>Currently married to his fifth wife Michaele Schon (formerly Salahi), Schon has paid millions in alimony for previous marriages. To at least one ex-wife, Amber Fazon, he confirmed \u003ca href=\"http://www.startribune.com/journey-guitarist-sues-ex-mother-in-law-former-waseca-mayor-for-libel/198996051/\" target=\"_blank\" rel=\"noopener\">payments totaling $1.3 million\u003c/a> by 2013. Furthermore, according to Herbert, Schon’s divorce settlement with his first wife dictates that she receive half of his royalties from Journey’s best-selling greatest hits album. After getting together with Salahi in 2011, Schon settled a lawsuit by \u003ca href=\"http://www.mercurynews.com/2012/10/03/journeys-neal-schon-settles-lawsuit-filed-by-playmate-ex-flame/\" target=\"_blank\" rel=\"noopener\">paying an undisclosed sum\u003c/a> to his then-girlfriend, former Playmate Ava Fabian.\u003c/p>\n\u003cp>Selvin says he spoke with one of Schon’s accountants at a party a few years back, and was told that for every hour the guitarist works, 50 minutes of that work goes to paying his alimony. With stories like that going around, stunts like Schon’s decision to turn his 2013 wedding at the Palace of Fine Arts into \u003ca href=\"http://www.sfgate.com/news/article/S-F-to-pay-back-Journey-guitarist-Neal-Schon-for-6624791.php\" target=\"_blank\" rel=\"noopener\">a pay-per-view event \u003c/a>start making sense. (A portion of the pay-per-view profits went to typhoon relief in the Philippines.)\u003c/p>\n\u003cp>“I’ve managed a dozen bands very successfully and one of the most common problems is a failure to understand commitment,” Herbert says. “That is a tough thing to manage, because they’re basically shitting the bed and wanting somebody to clean up the mess.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LatorN4P9aA\u003c/p>\n\u003cp>Days after the articles about Journey’s impending breakup ran, Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/894009672360837120\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> that he wasn’t mad anymore, and that he was merely concerned about “the band’s legacy.” But for Herbert, the public fighting is just as damaging — and if Schon really cares about the band, he says, he’ll stop quarreling with his bandmates. \u003c/p>\n\u003cp>“This is the mothership,” Herbert says. “Quit fucking around.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cb>CORRECTION:\u003c/b> In the original version of this story, Michaele Schon’s name was styled incorrectly. It is Michaele Schon, not Michaele Salahi-Schon. We apologize for the error.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journey were inducted into the \u003ca href=\"https://www.youtube.com/watch?v=2XyCKJ-Z9dA\" target=\"_blank\" rel=\"noopener\">Rock and Roll Hall Of Fame\u003c/a> six months ago — but ever since, instead of riding high, the band has been plagued with drama. \u003c/p>\n\u003cp>Last week, headlines nationwide declared internal strife amongst the kings of ’80s radio due to the presidency of Donald Trump. Guitarist and founding member Neal Schon posted angrily on social media about three of his bandmates visiting the Trump White House on July 31 without him — a visit, he says, the band previously agreed not to do. \u003c/p>\n\u003cp>“Everybody’s entitled to like and believe what they want but when we’ve had this discussion many many times it was always a no,” Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/893300303260471296\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a>. “Least a heads up since it is a band and one that I started. I think Managment (sic) could let me know.”\u003c/p>\n\u003cp>To hear publications like \u003ca href=\"http://www.spin.com/2017/08/journey-donald-trump-tension/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a> and Variety tell it, the band were steps away from breaking up and going their \u003ca href=\"https://www.youtube.com/watch?v=LatorN4P9aA\" target=\"_blank\" rel=\"noopener\">separate ways\u003c/a> — a believable notion, as the band had gone though a previous public row two months prior, with Schon claiming that keyboardist Jonathan Cain, the band’s walking ballad factory and a practicing Christian, wanted Journey to play gospel music.\u003c/p>\n\u003cp>But for music journalist Joel Selvin, who covered the band for years in the pages of the \u003cem>San Francisco Chronicle\u003c/em>, the members of Journey fighting with each other is nothing new. When the band was at the top of its game in the early ’80s, frontman Steve Perry exerted control over the group, leading to frequent battling. As detailed in the band’s episode of VH1’s \u003ci>\u003ca href=\"https://www.youtube.com/watch?v=kJivmiZIY6o\" target=\"_blank\" rel=\"noopener\">Behind The Music\u003c/a>,\u003c/i> Perry was the first to eschew the band’s team dynamics, and Selvin says the band never recovered. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They don’t like each other and they’re tied together financially. They don’t even like the band anymore,” Selvin says.\u003c/p>\n\u003cfigure id=\"attachment_13805713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg\" alt=\"(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey performs at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Journey1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) keyboard player Jonathan Cain, guitar player Neal Schon, singer Arnel Pineda, drummer Deen Castronovo, and bass player Ross Valory of the band Journey perform at the 2011 Today Summer Concert series at Rockefeller Plaza on July 29, 2011 in New York City. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Selvin should know. One of his oldest friends is former Journey manager Walter “Herbie” Herbert, the band’s \u003ca href=\"https://en.wikipedia.org/wiki/Bill_Walsh_(American_football_coach)\" target=\"_blank\" rel=\"noopener\">Bill Walsh\u003c/a>, who guided them from playing jazzy prog-rock for a dedicated following to mainstream radio dominance. Before the band fired Herbert in 1993, he’d helped turn Journey into the \u003ca href=\"http://www.rollingstone.com/music/features/journey-the-platinum-game-plan-19800612\" target=\"_blank\" rel=\"noopener\">hit factory everyone knows\u003c/a> — pushing the band to focus on songwriting, finding Steve Perry, and setting up the business side so that their fortunes were equal to their fame. When the band was inducted into the Rock and Roll Hall Of Fame back in April, each member thanked Herbert for his work.\u003c/p>\n\u003cp>Now Herbert says he’s been watching the drama from afar, and is disappointed in the band’s quarreling. \u003c/p>\n\u003cp>“It’s a tragedy,” Herbert says. “It’s all rooted in financial issues, and it’s too bad because it could be the undoing of what is a great business.”\u003c/p>\n\u003cp>Herbert says the band’s problems stem from one source — Neal Schon. Herbert discovered Schon when he was 15 years old and, after bringing him into the Santana band, he helped the now-guitar hero found Journey in 1973. Herbert has stayed in touch with Schon since parting ways with the band; Schon even sent Herbert YouTube videos of singer Arnel Pineda before the Filipino phenom was brought in as vocalist in 2007. But now Herbert says Schon has taken over the “Steve Perry role” in the band, referencing the former lead singer’s divisive tenure. \u003c/p>\n\u003cfigure id=\"attachment_13805738\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg\" alt=\"Herbie Herbert during Journey's induction into the Rock and Roll Hall of Fame\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13805738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Herbie-Herbert-RNRHOF.jpg 1369w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Herbert during Journey’s induction into the Rock and Roll Hall of Fame. \u003ccite>(YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For years and years and years, I treated him like a son. Towards the end there, I would introduce him as, ‘This is Neal Schon, my son. He just didn’t turn out that well.’ It would always be good for a laugh,” Herbert says. “You know the old saying: half in jest and half serious. But then it was getting more and more serious.” \u003c/p>\n\u003cp>Journey has yet to reply to requests for comment. But looking at Schon’s social media posts, it appears that much of the fighting centers around Cain’s recent embrace of \u003ca href=\"http://1059thebrew.iheart.com/content/2017-06-05-journeys-neal-schon-and-jonathan-cain-are-apparently-at-odds-over-politics-religion-band-direction/\" target=\"_blank\" rel=\"noopener\">evangelical Christianity\u003c/a> and his new wife Paula White, the televangelist who also \u003ca href=\"https://www.nytimes.com/2017/01/19/us/trumps-pastor-paula-white.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">serves as Trump’s spiritual adviser\u003c/a>. Schon has posted videos and other statements \u003ca href=\"https://twitter.com/NealSchonMusic/status/892981470796685312\" target=\"_blank\" rel=\"noopener\">critical of White\u003c/a>, and has repeatedly stated that the band he founded “\u003ca href=\"http://ultimateclassicrock.com/neal-schon-journey-feud/\" target=\"_blank\" rel=\"noopener\">doesn’t need to be tagged with any one religion or politics\u003c/a>.” \u003c/p>\n\u003cp>But Herbert says he’s welcomed Cain’s newfound evangelicalism with \u003ca href=\"https://www.youtube.com/watch?v=2lLmYLw0WRI\" target=\"_blank\" rel=\"noopener\">open arms\u003c/a>. Herbert had issues with Cain from the moment he \u003ca href=\"https://www.facebook.com/schonmusic/photos/p.1507783739282096/1507783739282096/\" target=\"_blank\" rel=\"noopener\">brought him into the group,\u003c/a> and yet the “borderline atheist” says finding God has made the keyboardist “a better Jon Cain.”\u003c/p>\n\u003cp>“I’d love to be able to say the same for Neal and what he’s doing with his life,” Herbert says.\u003c/p>\n\u003caside class=\"aligncenter\">\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/MSi1yV0laeA'\n title='//www.youtube.com/embed/MSi1yV0laeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Video showing Journey’s Jonathan Cain telling Paula White’s congregation that married couples should watch porn together.\u003c/i>\u003c/p>\n\u003c/aside>\n\u003cp>Along with bitter tweets about his feud with Cain, Schon has discussed going off to do other projects, such as \u003ca href=\"https://twitter.com/NealSchonMusic/status/891215357041664000\" target=\"_blank\" rel=\"noopener\">a blues project\u003c/a> with former Bad English singer John Waite. But if he breaks up Journey, Schon would lose his biggest moneymaking venture, which Herbert insists would be “stupid on steroids” considering Schon’s many financial obligations.\u003c/p>\n\u003cp>Currently married to his fifth wife Michaele Schon (formerly Salahi), Schon has paid millions in alimony for previous marriages. To at least one ex-wife, Amber Fazon, he confirmed \u003ca href=\"http://www.startribune.com/journey-guitarist-sues-ex-mother-in-law-former-waseca-mayor-for-libel/198996051/\" target=\"_blank\" rel=\"noopener\">payments totaling $1.3 million\u003c/a> by 2013. Furthermore, according to Herbert, Schon’s divorce settlement with his first wife dictates that she receive half of his royalties from Journey’s best-selling greatest hits album. After getting together with Salahi in 2011, Schon settled a lawsuit by \u003ca href=\"http://www.mercurynews.com/2012/10/03/journeys-neal-schon-settles-lawsuit-filed-by-playmate-ex-flame/\" target=\"_blank\" rel=\"noopener\">paying an undisclosed sum\u003c/a> to his then-girlfriend, former Playmate Ava Fabian.\u003c/p>\n\u003cp>Selvin says he spoke with one of Schon’s accountants at a party a few years back, and was told that for every hour the guitarist works, 50 minutes of that work goes to paying his alimony. With stories like that going around, stunts like Schon’s decision to turn his 2013 wedding at the Palace of Fine Arts into \u003ca href=\"http://www.sfgate.com/news/article/S-F-to-pay-back-Journey-guitarist-Neal-Schon-for-6624791.php\" target=\"_blank\" rel=\"noopener\">a pay-per-view event \u003c/a>start making sense. (A portion of the pay-per-view profits went to typhoon relief in the Philippines.)\u003c/p>\n\u003cp>“I’ve managed a dozen bands very successfully and one of the most common problems is a failure to understand commitment,” Herbert says. “That is a tough thing to manage, because they’re basically shitting the bed and wanting somebody to clean up the mess.”\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/LatorN4P9aA'\n title='//www.youtube.com/embed/LatorN4P9aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Days after the articles about Journey’s impending breakup ran, Schon \u003ca href=\"https://twitter.com/NealSchonMusic/status/894009672360837120\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> that he wasn’t mad anymore, and that he was merely concerned about “the band’s legacy.” But for Herbert, the public fighting is just as damaging — and if Schon really cares about the band, he says, he’ll stop quarreling with his bandmates. \u003c/p>\n\u003cp>“This is the mothership,” Herbert says. “Quit fucking around.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>CORRECTION:\u003c/b> In the original version of this story, Michaele Schon’s name was styled incorrectly. It is Michaele Schon, not Michaele Salahi-Schon. We apologize for the error.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Defenders,' Netflix Enlists Marvel Superheroes in Quest for TV Domination",
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"content": "\u003cp>The villains in comic books usually have grandiose master plans, like targeting and defeating an enemy or ruling the world. Netflix, as it’s grown to become more and more of a major player in the modern TV universe, has grand plans of its own.\u003c/p>\n\u003cp>Netflix started out, and took root and blossomed, by providing easy access to many of the movies and TV shows made by others. Then it began making its own TV series and movies. As those programs have succeeded wildly (starting with \u003cem>House of Cards\u003c/em>) Netflix has gone all in on the original production front, to the point where it’s now carpet-bombing Netflix subscribers with several new offerings a week.\u003c/p>\n\u003cp>Meanwhile, other entertainment companies, such as CBS and Disney, are getting into the streaming business with their own services, and beginning to withhold their product from Netflix and other distributors.\u003c/p>\n\u003cp>That’s why original programs are so important to the future of Netflix, Amazon, Hulu and other such companies. It’s also why Netflix, most aggressively, is making new series deals with David Letterman and current ABC producer superstar \u003ca href=\"http://www.npr.org/2015/11/11/455594842/shonda-rhimes-on-running-three-hit-shows-and-the-limits-of-network-tv\">Shonda Rhimes\u003c/a> — and why it partnered with Marvel Comics so boldly, and with such long-range commitment, years ago.\u003c/p>\n\u003cp>Netflix’s plan with Marvel, from the start, was to take relatively minor or underused titles and heroes from the Marvel comic books, and star them in their own season-long TV series. Then, after that, to feature them together in \u003cem>The Defenders,\u003c/em> in an all-star superhero team-up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel used the same blueprint (with bigger heroes) in the movies, first launching Iron Man, Captain America and others, then showcasing them together as \u003cem>The Avengers.\u003c/em> And Marvel’s rivals at DC Comics did the same with Batman, Superman and, most recently, Wonder Woman, while planning a one-movie-fits-all \u003cem>Justice League\u003c/em> adventure film.\u003c/p>\n\u003cp>With Netflix, the plan was to take four different Marvel heroes and give them their own 13-episode shows. All of them ended up in the same Hell’s Kitchen turf in New York, but dramatically, not all these characters, or shows, were created equal. \u003cem>Jessica Jones\u003c/em> and \u003cem>Daredevil\u003c/em> were wonderful fantasy dramas about haunted heroes. Jessica had post-traumatic stress after being captured and manipulated by a mind-controlling villain. And Cox’s Matt Murdock, the lawyer by day, and costumed Daredevil by night, was blind, with his remaining senses exponentially enhanced after childhood exposure to radiation.\u003c/p>\n\u003cp>These two shows had strong supporting casts and terrific villains, played by such actors as David Tennant and Vincent D’Onofrio. But compared to them, \u003cem>Luke Cage\u003c/em> was minor-league, and\u003cem> Iron Fist\u003c/em> a total washout. Gathered together under one new title, if these Defenders were Marx Brothers, Iron Fist would be Zeppo.\u003c/p>\n\u003cp>But \u003cem>The Defenders\u003c/em> works, in part, precisely because the chemistry among characters doesn’t, and because it’s a group of loners who don’t even decide to join forces until four episodes in. And those were all the episodes provided for preview, so I’m not sure where \u003cem>The Defenders\u003c/em> is going.\u003c/p>\n\u003cp>But I know it starts well, by bringing back the strongest supporting characters and continuing plots from the previous Marvel Netflix shows, and by casting Sigourney Weaver as the new big, bad villain.\u003c/p>\n\u003cp>The real standouts in \u003cem>The Defenders\u003c/em> are the same actors and characters who excelled in their own series: Ritter as Jessica Jones and Cox as Daredevil. When they finally meet, the results are electric. And then there’s Élodie Yung’s Elektra, an important character in this new series — even though she died at the end of last season on \u003cem>Daredevil\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But figuring out who lives and dies is a tricky thing, in superhero stories and in the real-life battle for world TV domination. With \u003cem>The Defenders,\u003c/em> Netflix is making another very bold, very smart move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Defenders%2C%27+Netflix+Enlists+Marvel+Superheroes+In+Quest+For+TV+Domination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The villains in comic books usually have grandiose master plans, like targeting and defeating an enemy or ruling the world. Netflix, as it’s grown to become more and more of a major player in the modern TV universe, has grand plans of its own.\u003c/p>\n\u003cp>Netflix started out, and took root and blossomed, by providing easy access to many of the movies and TV shows made by others. Then it began making its own TV series and movies. As those programs have succeeded wildly (starting with \u003cem>House of Cards\u003c/em>) Netflix has gone all in on the original production front, to the point where it’s now carpet-bombing Netflix subscribers with several new offerings a week.\u003c/p>\n\u003cp>Meanwhile, other entertainment companies, such as CBS and Disney, are getting into the streaming business with their own services, and beginning to withhold their product from Netflix and other distributors.\u003c/p>\n\u003cp>That’s why original programs are so important to the future of Netflix, Amazon, Hulu and other such companies. It’s also why Netflix, most aggressively, is making new series deals with David Letterman and current ABC producer superstar \u003ca href=\"http://www.npr.org/2015/11/11/455594842/shonda-rhimes-on-running-three-hit-shows-and-the-limits-of-network-tv\">Shonda Rhimes\u003c/a> — and why it partnered with Marvel Comics so boldly, and with such long-range commitment, years ago.\u003c/p>\n\u003cp>Netflix’s plan with Marvel, from the start, was to take relatively minor or underused titles and heroes from the Marvel comic books, and star them in their own season-long TV series. Then, after that, to feature them together in \u003cem>The Defenders,\u003c/em> in an all-star superhero team-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel used the same blueprint (with bigger heroes) in the movies, first launching Iron Man, Captain America and others, then showcasing them together as \u003cem>The Avengers.\u003c/em> And Marvel’s rivals at DC Comics did the same with Batman, Superman and, most recently, Wonder Woman, while planning a one-movie-fits-all \u003cem>Justice League\u003c/em> adventure film.\u003c/p>\n\u003cp>With Netflix, the plan was to take four different Marvel heroes and give them their own 13-episode shows. All of them ended up in the same Hell’s Kitchen turf in New York, but dramatically, not all these characters, or shows, were created equal. \u003cem>Jessica Jones\u003c/em> and \u003cem>Daredevil\u003c/em> were wonderful fantasy dramas about haunted heroes. Jessica had post-traumatic stress after being captured and manipulated by a mind-controlling villain. And Cox’s Matt Murdock, the lawyer by day, and costumed Daredevil by night, was blind, with his remaining senses exponentially enhanced after childhood exposure to radiation.\u003c/p>\n\u003cp>These two shows had strong supporting casts and terrific villains, played by such actors as David Tennant and Vincent D’Onofrio. But compared to them, \u003cem>Luke Cage\u003c/em> was minor-league, and\u003cem> Iron Fist\u003c/em> a total washout. Gathered together under one new title, if these Defenders were Marx Brothers, Iron Fist would be Zeppo.\u003c/p>\n\u003cp>But \u003cem>The Defenders\u003c/em> works, in part, precisely because the chemistry among characters doesn’t, and because it’s a group of loners who don’t even decide to join forces until four episodes in. And those were all the episodes provided for preview, so I’m not sure where \u003cem>The Defenders\u003c/em> is going.\u003c/p>\n\u003cp>But I know it starts well, by bringing back the strongest supporting characters and continuing plots from the previous Marvel Netflix shows, and by casting Sigourney Weaver as the new big, bad villain.\u003c/p>\n\u003cp>The real standouts in \u003cem>The Defenders\u003c/em> are the same actors and characters who excelled in their own series: Ritter as Jessica Jones and Cox as Daredevil. When they finally meet, the results are electric. And then there’s Élodie Yung’s Elektra, an important character in this new series — even though she died at the end of last season on \u003cem>Daredevil\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But figuring out who lives and dies is a tricky thing, in superhero stories and in the real-life battle for world TV domination. With \u003cem>The Defenders,\u003c/em> Netflix is making another very bold, very smart move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Defenders%2C%27+Netflix+Enlists+Marvel+Superheroes+In+Quest+For+TV+Domination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, KQED’s Cy Musiker welcomes Marc Bamuthi Joseph, an artist and curator of performing arts at the Yerba Buena Center for the Arts. The two talk about an ancient masquerade tradition, the art and spirit of Oakland, and a joyous juke joint sound. The podcast also features a visit with Chef Joey Altman, and exposes his secret musical life. Listen to the show above, and click through the links below for details.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>July 26-Aug. 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/everyone-deserves-a-great-moment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Making of a Great Moment,\u003c/em> a new play, at Z Space in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 9-Sept. 3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/african-american-history-as-a-homeric-odyssey/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Odyssey\u003c/em> at California Shakespeare Theater\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16-27:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/dressing-up-to-honor-ancestors-and-the-black-lives-matter-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> Ethos de Masquerade \u003c/em>at the Strand Theater in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 16 & 17\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/the-art-soul-and-spirit-of-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\"> The Art and Soul Festival fills downtown Oakland with big crowds and a joyful spirit\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 17-20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/uncovering-great-jazz-and-rb-of-the-past/\" target=\"_blank\" rel=\"noopener noreferrer\">The Genius of Ray Charles, Nina Simone, Miles Davis and Muscle Shoals at SFJAZZ in San Francisco\u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18:\u003c/strong> \u003ca href=\"http://www.theindependentsf.com/event/1495109-matthew-sweet-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Matthew Sweet at the Independent \u003c/a>\u003c/li>\n\u003cli>\u003cstrong>Aug. 18, 24, 25:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/08/16/soulful-jook-joint-music-from-quinn-deveaux/%E2%80%8E\" target=\"_blank\" rel=\"noopener noreferrer\"> Bluesman Quinn DeVeaux at the New Parish, Armando’s and the David Brower Center\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Oakland’s own \u003ca href=\"https://www.facebook.com/quinndeveaux1/\" target=\"_blank\" rel=\"noopener noreferrer\">Quinn DeVeaux \u003c/a>has a rough and tender voice, and plays what he calls “blue beat dance music.” My co-host Marc Bamuthi Joseph calls it “black joy, ‘jook’ joint music, like what your southern grandmama listened to back in the day when she was fast and in the mood for some trouble.” We’re both hoping to catch one of DeVeaux’s upcoming shows. He opens for \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rupa and the April Fishes\u003c/a> (Rupa Marya is the woman who \u003ca href=\"https://ww2.kqed.org/arts/2016/06/27/happy-birthday-song-has-been-set-free/\" target=\"_blank\" rel=\"noopener\">won the legal battle\u003c/a> to make the song “Happy Birthday” part of the public domain) at The New Parish in Oakland Aug. 18. \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7527895&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. Then he plays shows Thursday, Aug. 24 at Armando’s in Martinez (\u003ca href=\"http://armandosmartinez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), and Friday, Aug. 25, at the David Brower Center in Berkeley (\u003ca href=\"https://browercenter.org/program/beasts-roam-free-quinn-deveaux-solo/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zr4X7B9-5kI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the \u003ca href=\"http://www.cmaworld.com/jo-walker-meador-1924-2017/\" target=\"_blank\" rel=\"noopener\">Country Music Association\u003c/a> and the \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">Country Music Hall of Fame\u003c/a>.\u003c/p>\n\u003cp>Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.\u003c/p>\n\u003cp>When first hired, Walker-Meador had a very steep learning curve, as she told CountryZone.net in a 2008 \u003ca href=\"http://countryzone.net/en/interviews/80-jo-walker-meador-the-iron-lady-of-country-music\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”\u003c/p>\n\u003cp>Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.\u003c/p>\n\u003cp>It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">remembrance\u003c/a>: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During her time leading the organization, the CMA became a country music industry powerhouse and, for other “niche” music genres, an important model for self-advocacy. Those activities included establishing the Country Music Hall of Fame (which launched in 1961), the annual CMA Awards (begun in 1967 and televised nationally beginning the following year), and the CMA Music Festival (originally known as Fan Fair), which was created in 1972.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Walker-Meador was herself elected to the Country Music Hall of Fame in 1995. \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=One+Of+Music+Row%27s+Most+Influential+Leaders%2C+Jo+Walker-Meador%2C+Has+Died+At+93&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the \u003ca href=\"http://www.cmaworld.com/jo-walker-meador-1924-2017/\" target=\"_blank\" rel=\"noopener\">Country Music Association\u003c/a> and the \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">Country Music Hall of Fame\u003c/a>.\u003c/p>\n\u003cp>Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.\u003c/p>\n\u003cp>When first hired, Walker-Meador had a very steep learning curve, as she told CountryZone.net in a 2008 \u003ca href=\"http://countryzone.net/en/interviews/80-jo-walker-meador-the-iron-lady-of-country-music\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”\u003c/p>\n\u003cp>Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.\u003c/p>\n\u003cp>It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">remembrance\u003c/a>: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During her time leading the organization, the CMA became a country music industry powerhouse and, for other “niche” music genres, an important model for self-advocacy. Those activities included establishing the Country Music Hall of Fame (which launched in 1961), the annual CMA Awards (begun in 1967 and televised nationally beginning the following year), and the CMA Music Festival (originally known as Fan Fair), which was created in 1972.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Walker-Meador was herself elected to the Country Music Hall of Fame in 1995. \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=One+Of+Music+Row%27s+Most+Influential+Leaders%2C+Jo+Walker-Meador%2C+Has+Died+At+93&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Black Odyssey' Evokes Emmett Till, Hurricane Katrina... and Homer",
"headTitle": "‘Black Odyssey’ Evokes Emmett Till, Hurricane Katrina… and Homer | KQED",
"content": "\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Shakespeare Theater\u003c/a>’s West Coast premiere of Marcus Gardley’s \u003cem>Black Odyssey\u003c/em> is a cause for double celebration: one, for the company’s commitment to a Shakespearian tradition that I wish were a vital part of contemporary American theater and isn’t; and, two, for bringing to full life Gardley’s rather astonishing play, which has the scope, breadth, and vision of Shakespeare’s late romances — \u003cem>The Winter’s Tale\u003c/em>, \u003cem>Cymbeline\u003c/em>, and \u003cem>Pericles\u003c/em>.\u003c/p>\n\u003cp>The play’s power derives principally from the fact that Gardley creates a world of high stakes. And as recent events keep on proving, there is no higher stake than being black in America. Without a hint of didacticism, the play lets us see what is both the principal story of our country, and, strangely, the one we keep on missing.\u003c/p>\n\u003cfigure id=\"attachment_13805516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg\" alt=\"(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln's fate.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey-e1502778060668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Great Grand Daddy Deus (Lamont Thompson) and Paw Sidin (Aldo Billingslea) play chess with Ulysses Lincoln’s fate. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paying an obvious debt to Homer,\u003cem> Black Odyssey\u003c/em> begins with Ulysses Lincoln (a subtle and assured J. Alphonse Nicholson) drumming on those plastic paint buckets of which BART buskers are so fond. Before we know it, Lincoln is swept off the deck of a ship transporting American soldiers from Afghanistan, the victim of the god Paw Sidin’s wrath for killing one of his many sons. Gardley’s ability to write with a swiftness of purpose and focus is striking. Scenes go by with lightning speed, and yet even his most minor characters are vivid and alive, including the gods.\u003c/p>\n\u003cp>As Lincoln struggles to stay alive, his wife Nella Pell — two months pregnant when he leaves for a six-month tour of duty — waits. Even when informed of Lincoln’s disappearance and obvious death, she refuses to lose faith in her husband’s eventual return. Nella Pell will wait many years, struggling to raise their son Malachai with help from Lincoln’s Aunt Tina, who’s really the goddess Athena in disguise, risking her life and good looks to live among mortals.\u003c/p>\n\u003cp>Lincoln’s journey, which follows Odysseus’ so thoroughly, differs from its source in one striking aspect: Odysseus is a product of the elite, a general and head of state, struggling to regain his rightful return to power. Lincoln, along with his beloved Nella Pell, is an orphan and outcaste whose life is an afterthought to the dramas of the state. One might say that before Lincoln even begins his journey he is lost, both to himself and the world around him. And that for him to be saved and return, he must right the myth that he’s living.\u003c/p>\n\u003cfigure id=\"attachment_13805517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805517\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg\" alt=\"The family that Ulysses Lincoln must return to -- Great Aunt Tina (Margo Hall), Nella Pell (Omoze Idehenre) and Malachai (Michael Curry) -- is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/blackodyssey2-e1502778473288-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The family that Ulysses Lincoln must return to — Great Aunt Tina (Margo Hall), Nella Pell (Omozé Idehenre) and Malachai (Michael Curry) — is threatened by the unscrupulous Johnny Suitor (Aldo Billingslea). \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all the pagan gods running around \u003cem>Black Odyssey\u003c/em>, the play is suffused with a stringent and embracing vision of Christian redemption. We will be brought back to a loving god and a world of sense when we give ourselves to the truth and our sins. Lincoln is an epic hero, and a victim of all sorts of situations beyond his control. But, more powerfully, he is flawed and capable of great cruelty. He is not an abstraction, but rather a man. And in that insight, Gardley’s drama always soars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Lincoln finds himself lost in an underworld of African-American history unmoored from time — a place where Emmett Till still whistles, Hurricane Katrina never stops flooding New Orleans, the blood of Martin Luther King and Malcolm X hasn’t dried, the Scottsboro boys sit and wait for justice, and the four little girls slaughtered in the 1963 Birmingham church bombing sleep in peace — it is the practical need to make sense of disorder that propels him forward, along with the simple desire that he must return to his family at all costs.\u003c/p>\n\u003cp>The nature of that order is personal, political, and right down to the way the characters speak. After all, language is essential to making sense and locating an authentic self. For a multitude of political reasons, black English is often treated as a derivation of a white standard, but that misses the diversity of black speech itself. In \u003cem>Black Odyssey\u003c/em> you hear all the tenors and rhythms of what one might describe as the polyglot nature of black life in America. Not a derivation, but instead a stunning array of related languages that even African-Americans must at times struggle to navigate.\u003c/p>\n\u003cfigure id=\"attachment_13805519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13805519\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg\" alt=\"(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together?\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/black-odyssey1-e1502779008982.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Nella Pell (Omozé Idehenre) and Ulysses Lincoln (J. Alphonse Nicholson) start together but will they end together? \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so strewn throughout \u003cem>Black Odyssey\u003c/em>, Gardley gives us several languages: those of the church and street, outrage and moral instruction, and finally a language of dreams that imagines a way out of the long nightmare of racial injustice. They all have different qualities and registers and are sometimes in opposition to each other. But it’s Lincoln’s ability to keep all of these languages going at once that finally frees him to rejoin his family and the world.\u003c/p>\n\u003cp>Gardley’s play is a highly unusual triumph. Buoyed by Eric Ting’s sharp, resourceful direction, an amazing cast, and fluid design work, it’s clear that Cal Shakes has found the Shakespearian spirit in our troubling times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>California Shakespeare Theater’s ‘Black Odyssey’ runs through Sunday, Sep. 3 at the Bruns Amphitheater in Orinda. For tickets and information, \u003ca href=\"http://calshakes.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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