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"content": "\u003cp>So here’s what seems to be the problem: The \u003ca href=\"http://sheltontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Shelton Theater\u003c/a>, a small company in downtown San Francisco, produced Stephen Adly Guirgis’ \u003cem>The Last Days of Judas Iscariot,\u003c/em> and for a number of reasons — financial, aesthetic, a sense of daring — cut about a third of the play without the dramatist’s permission. That’s a violation of the company’s licensing agreement as well as federal copyright law.\u003c/p>\n\u003cp>Guirgis demanded that the Shelton include an insert in the program that read: “The play you are seeing tonight has been improperly and extensively cut & edited. These edits were made without permission and against the wishes of the playwright, and in violation of federal copyright law.”\u003c/p>\n\u003cfigure id=\"attachment_13804807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg\" alt=\"Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics' Circle Awards at 54 Below on May 19, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics’ Circle Awards at 54 Below on May 19, 2015 in New York City. \u003ccite>(Photo: Monica Schipper/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater company complied, but stamped the notice with a red warning sign that seemed to give the retraction a kind of rebel spin. This angered Guirgis even further. A few Facebook posts later, the theater apologized, the production shut down, and Guirgis declared the contretemps over: “We are all theater people here,” the Pulitzer prize-winning playwright wrote. “Many freaks — but one tribe.”\u003c/p>\n\u003cp>From a legal perspective, the issues couldn’t be clearer. But if you tug a bit on the aesthetic ones — and I would argue that those are the ones that matter — things get a lot messier. What this seemingly insignificant controversy reveals is a series of assumptions about how we view the theater and contemporary playwriting.\u003c/p>\n\u003cp>As a matter of course, many plays are chopped, diced, flipped, abused, and re-imagined for both good and ill. The counter argument to that is most of the works that enterprising theater artists adapt in these various ways are classics, and that Shakespeare, Marlowe, Calderón, Euripides, Molière, Racine, and all the rest of the dead dramatists of the world could only dream of the protections that living and recently deceased playwrights (through literary estates) possess. Okay, true, but that’s a legal technicality and not an aesthetic or cultural argument.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The productions that these rights-deprived dead geniuses receive are often more vibrant, innovative, alive, and attuned to the world than the paint-by-numbers approach authorial control demands under the law. In the last year, Bay Area audiences have had the pleasure of the Shotgun Players’ \u003cem>Hamlet\u003c/em> roulette, Ubuntu Theater Project’s rug store \u003cem>Othello\u003c/em>, and California Shakespeare Theater’s servants’ rights \u003cem>Much Ado About Nothing\u003c/em>, a housing crises \u003cem>As You Like It\u003c/em>, and a Black Lives Matter \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Not all of them were successful, but I enjoyed thinking along with their sometimes loony premises. At no time did I question the directors or theaters’ right to bend these plays to their individual needs and interests.\u003c/p>\n\u003cfigure id=\"attachment_13804760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804760\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg\" alt='Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional \"Roulette\" Hamlet\" produced by the Shotgun Players.' width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional ‘”Roulette” Hamlet’ produced by the Shotgun Players. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In more recent playwriting history, authors have gained an inordinate amount of control over their work. Samuel Beckett, Harold Pinter, and Edward Albee were notoriously hawkish about how their plays were produced. Thanks to the continued vigilance of these playwrights’ estates, there’s a musty edge to what we see of their work. From a cultural point of view, every playwright needs some idiotic productions to loosen things up. We should never underestimate the great potential of failure and foolishness.\u003c/p>\n\u003cp>Beneath the logic of Guirgis’ complaint and copyright law is the notion that the play is a kind of sacred text under the control of the God-author — that cutting, changing the blocking, casting against type, etc. constitute grievous violations of meaning. From a legal standpoint, there’s not much that can be done, but from an aesthetic one I fear that we are losing out on great riches for a rather dubious ideal.\u003c/p>\n\u003cp>I’ve often wondered about the famous Wooster Group production of Arthur Miller’s \u003cem>The Crucible\u003c/em> and why Miller retracted the rights to his play after seeing a performance by the famous avant-garde New York company. I have a theory and it’s not a kind one. Everything the Wooster Group does is a brutal interrogation, and any weakness in the material is obvious under the company’s stringent methods. I think Miller felt that the Wooster Group had exposed his artistic limitations and got scared.\u003c/p>\n\u003cp>Guirgis is an excellent writer who in the past few years has received very good but staid productions of his work in the Bay Area — \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/02/05/hold_on_to_your_hat_in_sf_playhouses_unmentionable_play/\" target=\"_blank\" rel=\"noopener noreferrer\">The Motherfucker with the Hat\u003c/a>\u003c/em> at SF Playhouse and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/18/theater-junkie-amelie-at-berkeley-rep-act-takes-on-guirgis-auroras-mud-blue-sky/\" target=\"_blank\" rel=\"noopener noreferrer\">Between Riverside and Crazy\u003c/a>\u003c/em> at American Conservatory Theater. These were solid outings, but less reverential productions might have brought out the wilder, more ambitious aspects of his work. Fidelity is a rather wan virtue.\u003c/p>\n\u003cfigure id=\"attachment_13804758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-800x450.jpg\" alt='Carl Lumbly in Stephen Adly Guirgis’s \"Between Riverside and Crazy\" at ACT. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carl Lumbly in Stephen Adly Guirgis’ ‘Between Riverside and Crazy’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not a perfect analogy, the lifecycle of a song provides a dynamic counter-model. A composer writes a song and maybe even performs it, giving it a definitive reading. Then another singer comes along and sings it in a different way, maybe even changes the gender of the pronouns, cuts a verse, distorts the tempo or slips into a higher or lower key. I don’t think that song has been damaged as a result. That song continues to have an ongoing cultural life and the ability to attract new meanings and ideas.\u003c/p>\n\u003cp>Great plays should be able to handle the same types of changes. Some experiments work and others don’t. But a freewheeling sense of giving it a go is crucial for a truly vibrant culture. We shouldn’t be satisfied with what the law allows for now — the aesthetic equivalent of a Starbucks franchise. We should hope for and demand interpretations attuned to the producing artists’ abilities and vision, and not be content with variations on some false Platonic ideal to which the author clings.\u003c/p>\n\u003cp>The issue is not this particular production, but rather the beliefs behind the conflict. The Shelton Theater violated Guirgis’ legal rights, but those legal rights are artistically limiting. And when you compare the production of classical plays by dead writers without living estates with those of most contemporary plays, you can begin to see the cracks in a rather unpromising system.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Stephen Adly Guirgis had the legal right to shut down Shelton Theater's 'The Last Days of Judas Iscariot.' But there's more at stake here than the law.",
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"description": "Stephen Adly Guirgis had the legal right to shut down Shelton Theater's 'The Last Days of Judas Iscariot.' But there's more at stake here than the law.",
"title": "Shelton Theater Dust-Up is Minor, But The Conflict it Reveals is Not | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So here’s what seems to be the problem: The \u003ca href=\"http://sheltontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Shelton Theater\u003c/a>, a small company in downtown San Francisco, produced Stephen Adly Guirgis’ \u003cem>The Last Days of Judas Iscariot,\u003c/em> and for a number of reasons — financial, aesthetic, a sense of daring — cut about a third of the play without the dramatist’s permission. That’s a violation of the company’s licensing agreement as well as federal copyright law.\u003c/p>\n\u003cp>Guirgis demanded that the Shelton include an insert in the program that read: “The play you are seeing tonight has been improperly and extensively cut & edited. These edits were made without permission and against the wishes of the playwright, and in violation of federal copyright law.”\u003c/p>\n\u003cfigure id=\"attachment_13804807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg\" alt=\"Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics' Circle Awards at 54 Below on May 19, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Stephen-Adly-Guirgis-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Adly Guirgis speaks at the 80th Annual New York Drama Critics’ Circle Awards at 54 Below on May 19, 2015 in New York City. \u003ccite>(Photo: Monica Schipper/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The theater company complied, but stamped the notice with a red warning sign that seemed to give the retraction a kind of rebel spin. This angered Guirgis even further. A few Facebook posts later, the theater apologized, the production shut down, and Guirgis declared the contretemps over: “We are all theater people here,” the Pulitzer prize-winning playwright wrote. “Many freaks — but one tribe.”\u003c/p>\n\u003cp>From a legal perspective, the issues couldn’t be clearer. But if you tug a bit on the aesthetic ones — and I would argue that those are the ones that matter — things get a lot messier. What this seemingly insignificant controversy reveals is a series of assumptions about how we view the theater and contemporary playwriting.\u003c/p>\n\u003cp>As a matter of course, many plays are chopped, diced, flipped, abused, and re-imagined for both good and ill. The counter argument to that is most of the works that enterprising theater artists adapt in these various ways are classics, and that Shakespeare, Marlowe, Calderón, Euripides, Molière, Racine, and all the rest of the dead dramatists of the world could only dream of the protections that living and recently deceased playwrights (through literary estates) possess. Okay, true, but that’s a legal technicality and not an aesthetic or cultural argument.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The productions that these rights-deprived dead geniuses receive are often more vibrant, innovative, alive, and attuned to the world than the paint-by-numbers approach authorial control demands under the law. In the last year, Bay Area audiences have had the pleasure of the Shotgun Players’ \u003cem>Hamlet\u003c/em> roulette, Ubuntu Theater Project’s rug store \u003cem>Othello\u003c/em>, and California Shakespeare Theater’s servants’ rights \u003cem>Much Ado About Nothing\u003c/em>, a housing crises \u003cem>As You Like It\u003c/em>, and a Black Lives Matter \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Not all of them were successful, but I enjoyed thinking along with their sometimes loony premises. At no time did I question the directors or theaters’ right to bend these plays to their individual needs and interests.\u003c/p>\n\u003cfigure id=\"attachment_13804760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804760\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg\" alt='Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional \"Roulette\" Hamlet\" produced by the Shotgun Players.' width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402-520x290.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/5-e1502217090402.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamlet (El Beh) taunts Polonius (Beth Wilmurt) in a rather unconventional ‘”Roulette” Hamlet’ produced by the Shotgun Players. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In more recent playwriting history, authors have gained an inordinate amount of control over their work. Samuel Beckett, Harold Pinter, and Edward Albee were notoriously hawkish about how their plays were produced. Thanks to the continued vigilance of these playwrights’ estates, there’s a musty edge to what we see of their work. From a cultural point of view, every playwright needs some idiotic productions to loosen things up. We should never underestimate the great potential of failure and foolishness.\u003c/p>\n\u003cp>Beneath the logic of Guirgis’ complaint and copyright law is the notion that the play is a kind of sacred text under the control of the God-author — that cutting, changing the blocking, casting against type, etc. constitute grievous violations of meaning. From a legal standpoint, there’s not much that can be done, but from an aesthetic one I fear that we are losing out on great riches for a rather dubious ideal.\u003c/p>\n\u003cp>I’ve often wondered about the famous Wooster Group production of Arthur Miller’s \u003cem>The Crucible\u003c/em> and why Miller retracted the rights to his play after seeing a performance by the famous avant-garde New York company. I have a theory and it’s not a kind one. Everything the Wooster Group does is a brutal interrogation, and any weakness in the material is obvious under the company’s stringent methods. I think Miller felt that the Wooster Group had exposed his artistic limitations and got scared.\u003c/p>\n\u003cp>Guirgis is an excellent writer who in the past few years has received very good but staid productions of his work in the Bay Area — \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2013/02/05/hold_on_to_your_hat_in_sf_playhouses_unmentionable_play/\" target=\"_blank\" rel=\"noopener noreferrer\">The Motherfucker with the Hat\u003c/a>\u003c/em> at SF Playhouse and \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2015/09/18/theater-junkie-amelie-at-berkeley-rep-act-takes-on-guirgis-auroras-mud-blue-sky/\" target=\"_blank\" rel=\"noopener noreferrer\">Between Riverside and Crazy\u003c/a>\u003c/em> at American Conservatory Theater. These were solid outings, but less reverential productions might have brought out the wilder, more ambitious aspects of his work. Fidelity is a rather wan virtue.\u003c/p>\n\u003cfigure id=\"attachment_13804758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-800x450.jpg\" alt='Carl Lumbly in Stephen Adly Guirgis’s \"Between Riverside and Crazy\" at ACT. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Riverside_1_Web-e1502216546171-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carl Lumbly in Stephen Adly Guirgis’ ‘Between Riverside and Crazy’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though not a perfect analogy, the lifecycle of a song provides a dynamic counter-model. A composer writes a song and maybe even performs it, giving it a definitive reading. Then another singer comes along and sings it in a different way, maybe even changes the gender of the pronouns, cuts a verse, distorts the tempo or slips into a higher or lower key. I don’t think that song has been damaged as a result. That song continues to have an ongoing cultural life and the ability to attract new meanings and ideas.\u003c/p>\n\u003cp>Great plays should be able to handle the same types of changes. Some experiments work and others don’t. But a freewheeling sense of giving it a go is crucial for a truly vibrant culture. We shouldn’t be satisfied with what the law allows for now — the aesthetic equivalent of a Starbucks franchise. We should hope for and demand interpretations attuned to the producing artists’ abilities and vision, and not be content with variations on some false Platonic ideal to which the author clings.\u003c/p>\n\u003cp>The issue is not this particular production, but rather the beliefs behind the conflict. The Shelton Theater violated Guirgis’ legal rights, but those legal rights are artistically limiting. And when you compare the production of classical plays by dead writers without living estates with those of most contemporary plays, you can begin to see the cracks in a rather unpromising system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \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=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Glen Campbell, the grinning, high-pitched entertainer whose dozens of hit singles included “Rhinestone Cowboy” and “Wichita Lineman” and whose appeal spanned country, pop, television and movies, died Tuesday, his family said. He was 81.\u003c/p>\n\u003cp>Campbell’s family said the singer died Tuesday morning in Nashville and publicist Sandy Brokaw confirmed the news. No cause was immediately given. Campbell announced in June 2011 that he had been diagnosed with Alzheimer’s disease and that it was in its early stages at that time.\u003c/p>\n\u003cp>In the late 1960s and well into the ’70s, the Arkansas native seemed to be everywhere, known by his boyish face, wavy hair and friendly tenor. He won five Grammys, sold more than 45 million records, had 12 gold albums and 75 chart hits, including No. 1 songs with “Rhinestone Cowboy” and “Southern Nights.”\u003c/p>\n\u003cp>His performance of the title song from “True Grit,” a 1969 release in which he played a Texas Ranger alongside Oscar winner John Wayne, received an Academy Award nomination. He twice won album of the year awards from the Academy of Country Music and was voted into the Country Music Hall of Fame in 2005. Seven years later, he received a Grammy for lifetime achievement.\u003c/p>\n\u003cp>He was among a wave of country crossover stars that included Johnny Cash, Roy Clark and Kenny Rogers, and like many of his contemporaries, he enjoyed success on television. Campbell had a weekly audience of some 50 million people for the \u003cem>Glen Campbell Goodtime Hour\u003c/em>, on CBS from 1969 to 1972. He gained new fans decades later when the show, featuring his cheerful greeting “Hi I’m Glen Campbell,” was rerun on cable channel CMT.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I did what my Dad told me to do — ‘Be nice, son, and don’t cuss. And be nice to people.’ And that’s the way I handled myself, and people were very, very nice to me,” Campbell told The Telegraph in 2011.\u003c/p>\n\u003cp>He released more than 70 of his own albums, and in the 1990s recorded a series of gospel CDs. A 2011 farewell album, \u003cem>Ghost On the Canvas\u003c/em>, included contributions from Jacob Dylan, Rick Nielsen of Cheap Trick and Billy Corgan of Smashing Pumpkins.\u003c/p>\n\u003cp>The documentary \u003cem>Glen Campbell … I’ll Be Me\u003c/em> came out in 2014. The film about Campbell’s 2011-12 farewell tour offers a poignant look at his decline from Alzheimer’s while showcasing his virtuoso guitar chops that somehow continued to shine as his mind unraveled. The song “I’m Not Gonna Miss You” won a Grammy for best country song in 2015 and was nominated for an Oscar for best original song.\u003c/p>\n\u003cp>Campbell’s musical career dated back to the early years of rock ‘n roll. He toured with the Champs of “Tequila” fame when the group included two singers who formed the popular ’70s duo Seals & Crofts. He was part of the house band for the ABC TV show \u003cem>Shindig!\u003c/em> and a member of Phil Spector’s “Wrecking Crew” studio band that played on hits by the Ronettes, the Righteous Brothers and the Crystals. He played guitar on Frank Sinatra’s “Strangers In the Night,” the Monkees’ “I’m a Believer” and Elvis Presley’s “Viva Las Vegas.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8fqN4zgqf78\u003c/p>\n\u003cp>“We’d get the rock ‘n’ roll guys and play all that, then we’d get Sinatra and Dean Martin,” Campbell told The Associated Press in 2011. “That was a kick. I really enjoyed that. I didn’t want to go nowhere. I was making more money than I ever made just doing studio work.”\u003c/p>\n\u003cp>A sharecropper’s son, and one of 12 children, he was born outside of Delight, Arkansas, and grew up revering country music stars such as Hank Williams.\u003c/p>\n\u003cp>“I’m not a country singer per se,” Campbell once said. “I’m a country boy who sings.”\u003c/p>\n\u003cp>He was just 4 when he learned to play guitar. As a teenager, anxious to escape a life of farm work and unpaid bills, he moved to Albuquerque, New Mexico to join his uncle’s band and appear on his uncle’s radio show. By his early 20s, he had formed his own group, the Western Wranglers, and moved to Los Angeles. He opened for the Doors and sang and played bass with the Beach Boys as a replacement for Brian Wilson, who in the mid-’60s had retired from touring to concentrate on studio work. In 1966, Campbell played on the Beach Boys’ classic “Pet Sounds” album.\u003c/p>\n\u003cp>“I didn’t go to Nashville because Nashville at that time seemed one-dimensional to me,” Campbell told the AP. “I’m a jazzer. I just love to get the guitar and play the hell out of it if I can.”\u003c/p>\n\u003cp>By the late ’60s, he was a performer on his own, an appearance on Joey Bishop’s show leading to his TV breakthrough. Tommy Smothers of the Smothers Brothers saw the program and asked Campbell if he’d like to host a summertime series, \u003cem>The Summer Brothers Smothers Show\u003c/em>. Campbell shied from the Smothers Brothers’ political humor, but still accepted the offer. He was out of the country when the first episode aired.\u003c/p>\n\u003cp>“The whole lid just blew off,” Campbell told the AP. “I had never had anything like that happen to me. I got more phone calls. It was awesome. For the first couple of days I was like how do they know me? I didn’t realize the power of television.”\u003c/p>\n\u003cp>His guests included country acts, but also the Monkees, Lucille Ball, Cream, Neil Diamond and Ella Fitzgerald.\u003c/p>\n\u003cp>He was married four times and had eight children. As he would confide in painful detail, Campbell suffered for his fame and made others suffer as well. He drank heavily, used drugs and indulged in a turbulent relationship with country singer Tanya Tucker in the early 1980s.\u003c/p>\n\u003cp>He is survived by his wife, Kim; their three children, Cal, Shannon and Ashley; and his children from previous marriages, Debby, Kelli, Travis, Kane and Dillon. He had 10 grandchildren.\u003c/p>\n\u003cp>In late 2003, he was arrested near his home in Phoenix after causing a minor traffic accident. He later pleaded guilty to “extreme” DUI and leaving the scene of an accident and served a 10-day sentence.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8kAU3B9Pi_U\u003c/p>\n\u003cp>Among Campbell’s own hits, “Rhinestone Cowboy” stood out and became his personal anthem. Written and recorded by Larry Weiss in 1974, “Rhinestone Cowboy” received little attention until Campbell heard it on the radio and quickly related to the story of a veteran performer who triumphs over despair and hardship. Campbell’s version was a chart topper in 1975.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I thought it was my autobiography set to song,” he wrote 20 years later, in his autobiography, titled \u003cem>Rhinestone Cowboy\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I did what my Dad told me to do — ‘Be nice, son, and don’t cuss. And be nice to people.’ And that’s the way I handled myself, and people were very, very nice to me,” Campbell told The Telegraph in 2011.\u003c/p>\n\u003cp>He released more than 70 of his own albums, and in the 1990s recorded a series of gospel CDs. A 2011 farewell album, \u003cem>Ghost On the Canvas\u003c/em>, included contributions from Jacob Dylan, Rick Nielsen of Cheap Trick and Billy Corgan of Smashing Pumpkins.\u003c/p>\n\u003cp>The documentary \u003cem>Glen Campbell … I’ll Be Me\u003c/em> came out in 2014. The film about Campbell’s 2011-12 farewell tour offers a poignant look at his decline from Alzheimer’s while showcasing his virtuoso guitar chops that somehow continued to shine as his mind unraveled. 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He played guitar on Frank Sinatra’s “Strangers In the Night,” the Monkees’ “I’m a Believer” and Elvis Presley’s “Viva Las Vegas.”\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/8fqN4zgqf78'\n title='//www.youtube.com/embed/8fqN4zgqf78'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We’d get the rock ‘n’ roll guys and play all that, then we’d get Sinatra and Dean Martin,” Campbell told The Associated Press in 2011. “That was a kick. I really enjoyed that. I didn’t want to go nowhere. I was making more money than I ever made just doing studio work.”\u003c/p>\n\u003cp>A sharecropper’s son, and one of 12 children, he was born outside of Delight, Arkansas, and grew up revering country music stars such as Hank Williams.\u003c/p>\n\u003cp>“I’m not a country singer per se,” Campbell once said. “I’m a country boy who sings.”\u003c/p>\n\u003cp>He was just 4 when he learned to play guitar. As a teenager, anxious to escape a life of farm work and unpaid bills, he moved to Albuquerque, New Mexico to join his uncle’s band and appear on his uncle’s radio show. By his early 20s, he had formed his own group, the Western Wranglers, and moved to Los Angeles. He opened for the Doors and sang and played bass with the Beach Boys as a replacement for Brian Wilson, who in the mid-’60s had retired from touring to concentrate on studio work. In 1966, Campbell played on the Beach Boys’ classic “Pet Sounds” album.\u003c/p>\n\u003cp>“I didn’t go to Nashville because Nashville at that time seemed one-dimensional to me,” Campbell told the AP. “I’m a jazzer. I just love to get the guitar and play the hell out of it if I can.”\u003c/p>\n\u003cp>By the late ’60s, he was a performer on his own, an appearance on Joey Bishop’s show leading to his TV breakthrough. Tommy Smothers of the Smothers Brothers saw the program and asked Campbell if he’d like to host a summertime series, \u003cem>The Summer Brothers Smothers Show\u003c/em>. Campbell shied from the Smothers Brothers’ political humor, but still accepted the offer. He was out of the country when the first episode aired.\u003c/p>\n\u003cp>“The whole lid just blew off,” Campbell told the AP. “I had never had anything like that happen to me. I got more phone calls. It was awesome. For the first couple of days I was like how do they know me? I didn’t realize the power of television.”\u003c/p>\n\u003cp>His guests included country acts, but also the Monkees, Lucille Ball, Cream, Neil Diamond and Ella Fitzgerald.\u003c/p>\n\u003cp>He was married four times and had eight children. As he would confide in painful detail, Campbell suffered for his fame and made others suffer as well. He drank heavily, used drugs and indulged in a turbulent relationship with country singer Tanya Tucker in the early 1980s.\u003c/p>\n\u003cp>He is survived by his wife, Kim; their three children, Cal, Shannon and Ashley; and his children from previous marriages, Debby, Kelli, Travis, Kane and Dillon. He had 10 grandchildren.\u003c/p>\n\u003cp>In late 2003, he was arrested near his home in Phoenix after causing a minor traffic accident. He later pleaded guilty to “extreme” DUI and leaving the scene of an accident and served a 10-day sentence.\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/8kAU3B9Pi_U'\n title='//www.youtube.com/embed/8kAU3B9Pi_U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Among Campbell’s own hits, “Rhinestone Cowboy” stood out and became his personal anthem. Written and recorded by Larry Weiss in 1974, “Rhinestone Cowboy” received little attention until Campbell heard it on the radio and quickly related to the story of a veteran performer who triumphs over despair and hardship. Campbell’s version was a chart topper in 1975.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \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=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \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=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Haruo Nakajima, the Japanese actor who was the first person to put on the Godzilla suit and bring the iconic monster to life, has died. He was 88.\u003c/p>\n\u003cp>Nakajima died Monday of pneumonia, his daughter and the Japanese movie studio Toho confirmed to multiple news outlets. Nakajima played Godzilla in the 1954 original and 11 subsequent films, donning the suit that he said weighed about 220 pounds and wreaking havoc on model cities and rival monsters.\u003c/p>\n\u003cp>But he began his career in samurai films, including a small role in Akira Kurosawa’s legendary 1954 film \u003cem>Seven Samurai\u003c/em>. “I had the samurai top-knot hairstyle, holding a sword, and I often played the guy who gets killed,” Nakajima said \u003ca href=\"https://www.greatbigstory.com/stories/the-man-who-was-godzilla\">in an interview earlier this year\u003c/a> with the Great Big Story.\u003c/p>\n\u003cp>Nakajima recounted that he got the attention of \u003cem>Godzilla\u003c/em> director Ishiro Honda on the set of a WWII film. “There was a scene where an airplane was on fire and an actor had to jump out of it. That was my role,” he said. “Mr. Honda saw this scene and thought, ‘This guy is full of energy.’ They came to see me as someone who had guts, and I think that’s why they wanted me for the role of Godzilla.”\u003c/p>\n\u003cp>In a 2004 interview with NPR, Nakajima described studying large animals at a zoo to help him prepare for the role of the lumbering reptile. “I watched the feet of an elephant and also a bear to see how a monster would move,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Htlqcz9S1Tk\u003c/p>\n\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nuu_l24zQv4\u003c/p>\n\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \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=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Nakajima played the iconic giant reptile in a dozen films, donning the suit that he says weighed about 220 pounds and wreaking havoc on model cities and rival monsters. He was 88.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Haruo Nakajima, the Japanese actor who was the first person to put on the Godzilla suit and bring the iconic monster to life, has died. He was 88.\u003c/p>\n\u003cp>Nakajima died Monday of pneumonia, his daughter and the Japanese movie studio Toho confirmed to multiple news outlets. Nakajima played Godzilla in the 1954 original and 11 subsequent films, donning the suit that he said weighed about 220 pounds and wreaking havoc on model cities and rival monsters.\u003c/p>\n\u003cp>But he began his career in samurai films, including a small role in Akira Kurosawa’s legendary 1954 film \u003cem>Seven Samurai\u003c/em>. “I had the samurai top-knot hairstyle, holding a sword, and I often played the guy who gets killed,” Nakajima said \u003ca href=\"https://www.greatbigstory.com/stories/the-man-who-was-godzilla\">in an interview earlier this year\u003c/a> with the Great Big Story.\u003c/p>\n\u003cp>Nakajima recounted that he got the attention of \u003cem>Godzilla\u003c/em> director Ishiro Honda on the set of a WWII film. “There was a scene where an airplane was on fire and an actor had to jump out of it. That was my role,” he said. “Mr. Honda saw this scene and thought, ‘This guy is full of energy.’ They came to see me as someone who had guts, and I think that’s why they wanted me for the role of Godzilla.”\u003c/p>\n\u003cp>In a 2004 interview with NPR, Nakajima described studying large animals at a zoo to help him prepare for the role of the lumbering reptile. “I watched the feet of an elephant and also a bear to see how a monster would move,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Htlqcz9S1Tk'\n title='//www.youtube.com/embed/Htlqcz9S1Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nuu_l24zQv4'\n title='//www.youtube.com/embed/nuu_l24zQv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \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=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Silicon Valley companies pull in all sorts of celebrities and theatrical acts for lunchtime entertainment to keep techies tethered to their corporate campuses. That gave the folks at \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San José\u003c/a> an idea. What if they took advantage of those captive audiences to make a pitch for opera?\u003c/p>\n\u003cp>Enter “\u003ca href=\"https://www.operasj.org/wp-content/uploads/2017/07/Arias-in-the-Office-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arias in the Office\u003c/a>,” a new pop-up series touring South Bay tech companies this fall. “The idea is to bring what we do to people who are fans and to people who’ve never heard it,” said Aaron Nicholson, director of marketing and development for Opera San José.\u003c/p>\n\u003cp>On a recent sunny Tuesday at noon, people passing through the lobby of Adobe’s West Tower in San Jose were confronted by soprano Katherine Gunnink soaring through a performance of the famous aria “Ch’il Bel Sogno” by the 19th century Italian composer Giacomo Puccini, accompanied on the piano by Veronika Agranov-Dafoe.\u003c/p>\n\u003cfigure id=\"attachment_13804634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg\" alt=\"Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San José to various workplaces around Silicon Valley for 40 minute performances during the lunch hour.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San Jose to various workplaces around Silicon Valley for 40 minute performances during the lunch hour. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These pop-up performances are not only designed to sell tickets to full concerts, but also to introduce people to the very concept of opera. Many of those present in the audience at Adobe were opera newbies.\u003c/p>\n\u003cp>Among them was Adobe employee Jyh-Jiun Liu, who’s lived in nearby Sunnyvale for 25 years but had no clue of Opera San José’s existence until she heard the company’s singers performing in the lobby. She said she hasn’t paid much attention to opera in the past, but was impressed by what she heard. “I really like it,” she said. “So if I see they will have a performance, maybe I will purchase a ticket.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of those present, like Zori Sanchez of Adobe’s finance department, were already opera fans. “I go with friends periodically,” she said. “I tend to go with people who kind of love it.”\u003c/p>\n\u003cfigure id=\"attachment_13804635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg\" alt='Adobe employees listen to singers from Opera San Jose perform as part of a touring series called \"Arias in the Office\" at Adobe Headquarters in San Jose, Calif. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to singers from Opera San José perform as part of a touring series called “Arias in the Office” at Adobe Headquarters in San Jose, Calif. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, a growing number of opera artists and organizations have cultivated new fans with pop-up concerts in parks, pubs and other non-traditional venues.\u003c/p>\n\u003cp>“We can’t just expect that if we put together a great season, people will come,” said soprano Indre Viskontas, who runs the San Francisco chapter of \u003ca href=\"http://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera on Tap\u003c/a>, a national nonprofit that brings opera to bars and other unlikely places. “We need to go to where they are, and show them how awesome our art is, and \u003cem>then\u003c/em> they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13804636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13804636 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg\" alt=\"Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to hosting the opera pop-up, Adobe also donated $10,000 to Opera San José for the first time this year. The arts organization is just one among several Bay Area nonprofits chosen by employee advisory committees for support.\u003c/p>\n\u003cp>In addition to Adobe, “Arias in the Office” has visited Oracle and Nvidia. Cisco, Applied Materials, and other firms are on the hit list for September.\u003c/p>\n\u003cp>“You know, opera is an older art genre, and it typically appeals to an older generation,” Neal said. “So it’s always nice to present to a younger audience an art form that we love, in a way that’s fresh and accessible.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/336436625″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Opera San José seeks to win over new fans with free lunchtime performances at companies like Adobe, Oracle and Cisco.",
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"title": "Strains of Puccini and Verdi Fill the Halls of Silicon Valley Tech Firms | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Silicon Valley companies pull in all sorts of celebrities and theatrical acts for lunchtime entertainment to keep techies tethered to their corporate campuses. That gave the folks at \u003ca href=\"https://www.operasj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera San José\u003c/a> an idea. What if they took advantage of those captive audiences to make a pitch for opera?\u003c/p>\n\u003cp>Enter “\u003ca href=\"https://www.operasj.org/wp-content/uploads/2017/07/Arias-in-the-Office-Final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Arias in the Office\u003c/a>,” a new pop-up series touring South Bay tech companies this fall. “The idea is to bring what we do to people who are fans and to people who’ve never heard it,” said Aaron Nicholson, director of marketing and development for Opera San José.\u003c/p>\n\u003cp>On a recent sunny Tuesday at noon, people passing through the lobby of Adobe’s West Tower in San Jose were confronted by soprano Katherine Gunnink soaring through a performance of the famous aria “Ch’il Bel Sogno” by the 19th century Italian composer Giacomo Puccini, accompanied on the piano by Veronika Agranov-Dafoe.\u003c/p>\n\u003cfigure id=\"attachment_13804634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804634\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg\" alt=\"Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San José to various workplaces around Silicon Valley for 40 minute performances during the lunch hour.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26153_20170801_Opera_jt_151-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs during Arias at the Office at Adobe Headquarters in San Jose, Calif. on Tuesday, Aug. 1, 2017. Arias in the Office brings singers from Opera San Jose to various workplaces around Silicon Valley for 40 minute performances during the lunch hour. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These pop-up performances are not only designed to sell tickets to full concerts, but also to introduce people to the very concept of opera. Many of those present in the audience at Adobe were opera newbies.\u003c/p>\n\u003cp>Among them was Adobe employee Jyh-Jiun Liu, who’s lived in nearby Sunnyvale for 25 years but had no clue of Opera San José’s existence until she heard the company’s singers performing in the lobby. She said she hasn’t paid much attention to opera in the past, but was impressed by what she heard. “I really like it,” she said. “So if I see they will have a performance, maybe I will purchase a ticket.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of those present, like Zori Sanchez of Adobe’s finance department, were already opera fans. “I go with friends periodically,” she said. “I tend to go with people who kind of love it.”\u003c/p>\n\u003cfigure id=\"attachment_13804635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13804635\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg\" alt='Adobe employees listen to singers from Opera San Jose perform as part of a touring series called \"Arias in the Office\" at Adobe Headquarters in San Jose, Calif. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26152_20170801_Opera_jt_144-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to singers from Opera San José perform as part of a touring series called “Arias in the Office” at Adobe Headquarters in San Jose, Calif. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In recent years, a growing number of opera artists and organizations have cultivated new fans with pop-up concerts in parks, pubs and other non-traditional venues.\u003c/p>\n\u003cp>“We can’t just expect that if we put together a great season, people will come,” said soprano Indre Viskontas, who runs the San Francisco chapter of \u003ca href=\"http://www.operaontap.org/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Opera on Tap\u003c/a>, a national nonprofit that brings opera to bars and other unlikely places. “We need to go to where they are, and show them how awesome our art is, and \u003cem>then\u003c/em> they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13804636\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13804636 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg\" alt=\"Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/RS26150_20170801_Opera_jt_131-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees in San Jose find themselves inexorably drawn to the lobby to listen to singers from Opera San José perform arias from Verdi and Puccini. \u003ccite>(Photo: James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to hosting the opera pop-up, Adobe also donated $10,000 to Opera San José for the first time this year. The arts organization is just one among several Bay Area nonprofits chosen by employee advisory committees for support.\u003c/p>\n\u003cp>In addition to Adobe, “Arias in the Office” has visited Oracle and Nvidia. Cisco, Applied Materials, and other firms are on the hit list for September.\u003c/p>\n\u003cp>“You know, opera is an older art genre, and it typically appeals to an older generation,” Neal said. “So it’s always nice to present to a younger audience an art form that we love, in a way that’s fresh and accessible.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/336436625″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/336436625″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Netflix says it made its first acquisition, comic book publisher Millarworld, with plans to turn its characters into new films and shows for the video streaming service.\u003c/p>\n\u003cp>Millarworld’s graphic novels \u003cem>Kick-Ass\u003c/em>, \u003cem>Wanted\u003c/em> and \u003cem>Kingsman\u003c/em> have already been turned into movies by major studios.\u003c/p>\n\u003cp>Los Gatos-based Netflix didn’t disclose on Monday how much it paid for Millarworld.\u003c/p>\n\u003cp>Netflix already has made a hefty commitment to comic-book series with \u003cem>Daredevil\u003c/em>, \u003cem>Jessica Jones\u003c/em> and \u003cem>Luke Cage\u003c/em>, among others based on Marvel characters. The streaming service ventured outside the Marvel universe with the recently announced series based on \u003cem>The Umbrella Academy\u003c/em>, published by Dark Horse Comics.\u003c/p>\n\u003cp>Netflix has been spending heavily for original movies and shows in all genres, such as \u003cem>House of Cards\u003c/em> and \u003cem>Orange Is the New Black\u003c/em>, to attract new viewers and stand apart from rival services.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It reported in July that it had more than 100 million subscribers worldwide.\u003c/p>\n\n",
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"content": "\u003cp>Well that was fast.\u003c/p>\n\u003cp>The Friday after emo legends Jawbreaker took the stage for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/04/jawbreaker-plays-first-show-in-21-years-video-photos-setlist/\" target=\"_blank\" rel=\"noopener\">the first time in 21 years\u003c/a> at Albany’s Ivy Room, tickets went on sale at 10am for another Jawbreaker show at San Francisco’s Rickshaw Stop.\u003c/p>\n\u003cp>About a minute later, the \u003ca href=\"http://www.rickshawstop.com/event/1527427-jawbreaker-san-francisco/\" target=\"_blank\" rel=\"noopener\">show was sold out\u003c/a>. \u003c/p>\n\u003cp>The Internet was crushed.\u003c/p>\n\u003cp>https://twitter.com/tinaxbell/status/893522886530449408\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.facebook.com/jeery.ilkenhons/posts/10154679409392793\u003c/p>\n\u003cp>https://twitter.com/KevinGetsRad/status/893527497651871745\u003c/p>\n\u003cp>https://www.facebook.com/TaylorTodd/posts/10211544257736258\u003c/p>\n\u003cp>https://twitter.com/bernie/status/893519903528898561\u003cbr>\n\u003c/p>\n\u003cp>(I’ll spare you the posts from fans celebrating their good luck.)\u003c/p>\n\u003cp>Don’t expect to find them on the resale market either, as the 400-seat Rickshaw Stop is serious about tickets only going to those attending the show. From the \u003ca href=\"http://www.rickshawstop.com/event/1527427-jawbreaker-san-francisco/\" target=\"_blank\" rel=\"noopener\">club’s website\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nTickets are WILL CALL only, no name changes and no transfers. The name on the will call list must match the name of the purchaser’s ID. You and your guest must enter the venue as you check in. \u003c/p>\n\u003cp>Orders place for the sole purpose of resale will be cancelled. \u003c/p>\n\u003cp>Orders exceeding the 2 ticket limit subject to cancellation! We are serious here!!!!!\n\u003c/p>\u003c/blockquote>\n\u003cp>“We worked really hard with Ticketfly to assure that scalpers didn’t get in the mix, so that true fans would be the only ones getting the tickets. Seems to have worked,” says Rickshaw Stop talent booker Dan Strachota, who added that the band had booked the show a month ago.\u003c/p>\n\u003cp>KQED asked Strachota if some tickets will be freed up at the door the day of the show and the answer was, “Sadly, no.”\u003c/p>\n\u003cp>So then, what are dedicated Jawbreaker fans to do? If they’re willing to travel, there’s still tickets available for their appearance at \u003ca href=\"https://www.stubhub.com/riot-fest-tickets/grouping/129725/\" target=\"_blank\" rel=\"noopener\">Chicago’s Riot Fest\u003c/a>. For those satisfied with watching them on some kind of screen, \u003ca href=\"http://pitchfork.com/news/73286-jawbreaker-announce-dont-break-down-documentary-share-clip-watch/\" target=\"_blank\" rel=\"noopener\">a documentary about the band\u003c/a> will be released after the festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the possibility of Jawbreaker touring after their festival appearance, one can only hope. Then again, if the Replacements could find \u003ca href=\"https://noisey.vice.com/en_us/article/6vgb4j/paul-westerbergs-t-shirts-have-a-message-for-you-about-the-replacements-breakup\" target=\"_blank\" rel=\"noopener\">a reason\u003c/a>, maybe Jawbreaker can too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well that was fast.\u003c/p>\n\u003cp>The Friday after emo legends Jawbreaker took the stage for \u003ca href=\"https://ww2.kqed.org/arts/2017/08/04/jawbreaker-plays-first-show-in-21-years-video-photos-setlist/\" target=\"_blank\" rel=\"noopener\">the first time in 21 years\u003c/a> at Albany’s Ivy Room, tickets went on sale at 10am for another Jawbreaker show at San Francisco’s Rickshaw Stop.\u003c/p>\n\u003cp>About a minute later, the \u003ca href=\"http://www.rickshawstop.com/event/1527427-jawbreaker-san-francisco/\" target=\"_blank\" rel=\"noopener\">show was sold out\u003c/a>. \u003c/p>\n\u003cp>The Internet was crushed.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\n\u003c/p>\n\u003cp>(I’ll spare you the posts from fans celebrating their good luck.)\u003c/p>\n\u003cp>Don’t expect to find them on the resale market either, as the 400-seat Rickshaw Stop is serious about tickets only going to those attending the show. From the \u003ca href=\"http://www.rickshawstop.com/event/1527427-jawbreaker-san-francisco/\" target=\"_blank\" rel=\"noopener\">club’s website\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nTickets are WILL CALL only, no name changes and no transfers. The name on the will call list must match the name of the purchaser’s ID. You and your guest must enter the venue as you check in. \u003c/p>\n\u003cp>Orders place for the sole purpose of resale will be cancelled. \u003c/p>\n\u003cp>Orders exceeding the 2 ticket limit subject to cancellation! We are serious here!!!!!\n\u003c/p>\u003c/blockquote>\n\u003cp>“We worked really hard with Ticketfly to assure that scalpers didn’t get in the mix, so that true fans would be the only ones getting the tickets. Seems to have worked,” says Rickshaw Stop talent booker Dan Strachota, who added that the band had booked the show a month ago.\u003c/p>\n\u003cp>KQED asked Strachota if some tickets will be freed up at the door the day of the show and the answer was, “Sadly, no.”\u003c/p>\n\u003cp>So then, what are dedicated Jawbreaker fans to do? If they’re willing to travel, there’s still tickets available for their appearance at \u003ca href=\"https://www.stubhub.com/riot-fest-tickets/grouping/129725/\" target=\"_blank\" rel=\"noopener\">Chicago’s Riot Fest\u003c/a>. For those satisfied with watching them on some kind of screen, \u003ca href=\"http://pitchfork.com/news/73286-jawbreaker-announce-dont-break-down-documentary-share-clip-watch/\" target=\"_blank\" rel=\"noopener\">a documentary about the band\u003c/a> will be released after the festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for the possibility of Jawbreaker touring after their festival appearance, one can only hope. Then again, if the Replacements could find \u003ca href=\"https://noisey.vice.com/en_us/article/6vgb4j/paul-westerbergs-t-shirts-have-a-message-for-you-about-the-replacements-breakup\" target=\"_blank\" rel=\"noopener\">a reason\u003c/a>, maybe Jawbreaker can too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In defending the \u003ca href=\"https://ww2.kqed.org/news/2017/08/02/trump-unveils-legislation-limiting-legal-immigration/\">Trump administration’s support for legislation that cuts legal immigration\u003c/a>, senior policy adviser Stephen Miller \u003ca href=\"http://www.latimes.com/politics/washington/la-na-essential-washington-updates-watch-cnn-s-jim-acosta-and-white-house-1501704278-htmlstory.html\" target=\"_blank\" rel=\"noopener\">dismissed\u003c/a> the famous Statue of Liberty poem by Emma Lazarus since it was added after the statue was completed. \u003c/p>\n\u003cp>The RAISE Act (for Reforming American Immigration for a Strong Economy), would dramatically cut legal immigration to the United States — including cutting the number of refugees allowed in the country by half.\u003c/p>\n\u003cp>To refresh your memory, here are the words of Emma Lazarus’ poem, inscribed in bronze at the base of the Statue of Liberty:\u003c/p>\n\u003cblockquote>\u003cp>Not like the brazen giant of Greek fame,\u003cbr>\nWith conquering limbs astride from land to land;\u003cbr>\nHere at our sea-washed, sunset gates shall stand\u003cbr>\nA mighty woman with a torch, whose flame\u003cbr>\nIs the imprisoned lightning, and her name\u003cbr>\nMother of Exiles. From her beacon-hand\u003cbr>\nGlows world-wide welcome; her mild eyes command\u003cbr>\nThe air-bridged harbor that twin cities frame.\u003cbr>\n“Keep, ancient lands, your storied pomp!” cries she\u003cbr>\nWith silent lips. “Give me your tired, your poor,\u003cbr>\nYour huddled masses yearning to breathe free,\u003cbr>\nThe wretched refuse of your teeming shore.\u003cbr>\nSend these, the homeless, tempest-tost to me,\u003cbr>\nI lift my lamp beside the golden door!”\u003c/p>\u003c/blockquote>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Bandcamp Holds Fundraiser for Transgender Law Center",
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"content": "\u003cp>The music distribution site Bandcamp will be donating \u003ca href=\"https://daily.bandcamp.com/2017/07/31/this-friday-stand-with-bandcamp-in-support-of-trans-rights/\" target=\"_blank\" rel=\"noopener\">100 percent\u003c/a> of its share of music sales Friday to the Transgender Law Center, a nonprofit based in Oakland.\u003c/p>\n\u003cp>In an announcement of the fundraiser posted on July 31, the company declared that it is meant as a direct response to President Trump’s recent \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/07/26/539470211/trump-says-transgender-people-cant-serve-in-military\" target=\"_blank\" rel=\"noopener\">Twitter announcement\u003c/a> that the government will bar transgender people from serving in the U.S. military.\u003c/p>\n\u003cp>“We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized,” the company’s staff wrote in the announcement. “This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military. That this announcement was motivated in part to help fund the border wall exposes it as part of the administration’s cynical, discriminatory agenda.”\u003c/p>\n\u003cp>Friday’s activity is modeled after a fundraiser the site held in January. The fundraiser generated \u003ca href=\"https://daily.bandcamp.com/2017/02/03/update-on-todays-aclu-fundraising-frenzy/\" target=\"_blank\" rel=\"noopener\">$1 million in sales\u003c/a>. Bandcamp says it donated its share of the proceeds — about $120,000 — to the ACLU after President Trump issued an \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order\u003c/a> that aimed to temporarily ban travelers from seven Muslim-majority nations. It also says that many of the record labels and artists have pledged to donate some of the rest of the proceeds as well.\u003c/p>\n\u003cp>Since Bandcamp made its original announcement of Friday’s fundraiser, over 200 labels and artists have \u003ca href=\"https://daily.bandcamp.com/2017/08/03/labels-artists-join-us-in-donating-todays-profits-to-transgender-law-center/\" target=\"_blank\" rel=\"noopener\">declared\u003c/a> that they will also donate percentages of their sales shares Friday to the Transgender Law Center; some of those companies and musicians have extended their donations in various ways (for example, to apply to all sales during the month of August). Participants include Car Seat Headrest, King Britt and Speedy Ortiz, as well as dozens of record labels including Sub Pop, Merge, ANTI-, Kill Rock Stars and Greenleaf.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bandcamp has emerged as one of the most important commercial conduits between musicians and fans. The site allows listeners to stream music and buy songs from independent artists and labels, with \u003ca href=\"https://www.nytimes.com/2016/08/20/arts/music/bandcamp-shopping-for-music.html\" target=\"_blank\" rel=\"noopener\">85 percent\u003c/a> of the profit going to the musicians. According to the company, fans have paid artists \u003ca href=\"https://bandcamp.com/about\" target=\"_blank\" rel=\"noopener\">$231 million\u003c/a> since the company’s launch in 2008. \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=Bandcamp+Holds+Fundraiser+For+Transgender+Law+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music distribution site Bandcamp will be donating \u003ca href=\"https://daily.bandcamp.com/2017/07/31/this-friday-stand-with-bandcamp-in-support-of-trans-rights/\" target=\"_blank\" rel=\"noopener\">100 percent\u003c/a> of its share of music sales Friday to the Transgender Law Center, a nonprofit based in Oakland.\u003c/p>\n\u003cp>In an announcement of the fundraiser posted on July 31, the company declared that it is meant as a direct response to President Trump’s recent \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/07/26/539470211/trump-says-transgender-people-cant-serve-in-military\" target=\"_blank\" rel=\"noopener\">Twitter announcement\u003c/a> that the government will bar transgender people from serving in the U.S. military.\u003c/p>\n\u003cp>“We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized,” the company’s staff wrote in the announcement. “This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military. That this announcement was motivated in part to help fund the border wall exposes it as part of the administration’s cynical, discriminatory agenda.”\u003c/p>\n\u003cp>Friday’s activity is modeled after a fundraiser the site held in January. The fundraiser generated \u003ca href=\"https://daily.bandcamp.com/2017/02/03/update-on-todays-aclu-fundraising-frenzy/\" target=\"_blank\" rel=\"noopener\">$1 million in sales\u003c/a>. Bandcamp says it donated its share of the proceeds — about $120,000 — to the ACLU after President Trump issued an \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order\u003c/a> that aimed to temporarily ban travelers from seven Muslim-majority nations. It also says that many of the record labels and artists have pledged to donate some of the rest of the proceeds as well.\u003c/p>\n\u003cp>Since Bandcamp made its original announcement of Friday’s fundraiser, over 200 labels and artists have \u003ca href=\"https://daily.bandcamp.com/2017/08/03/labels-artists-join-us-in-donating-todays-profits-to-transgender-law-center/\" target=\"_blank\" rel=\"noopener\">declared\u003c/a> that they will also donate percentages of their sales shares Friday to the Transgender Law Center; some of those companies and musicians have extended their donations in various ways (for example, to apply to all sales during the month of August). Participants include Car Seat Headrest, King Britt and Speedy Ortiz, as well as dozens of record labels including Sub Pop, Merge, ANTI-, Kill Rock Stars and Greenleaf.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bandcamp has emerged as one of the most important commercial conduits between musicians and fans. The site allows listeners to stream music and buy songs from independent artists and labels, with \u003ca href=\"https://www.nytimes.com/2016/08/20/arts/music/bandcamp-shopping-for-music.html\" target=\"_blank\" rel=\"noopener\">85 percent\u003c/a> of the profit going to the musicians. According to the company, fans have paid artists \u003ca href=\"https://bandcamp.com/about\" target=\"_blank\" rel=\"noopener\">$231 million\u003c/a> since the company’s launch in 2008. \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=Bandcamp+Holds+Fundraiser+For+Transgender+Law+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thirty years after becoming rap’s first sex symbol, LL Cool J will be the first hip-hop artist to receive Kennedy Center Honors in its 40-year history.\u003c/p>\n\u003cp>The rapper-turned-actor born James Todd Smith will be inducted with a prestigious 2017 class — including pop stars Gloria Estefan, Lionel Richie, television icon Norman Lear and choreographer Carmen de Lavallade – on Sunday, Dec. 3 at the Kennedy Center Opera House in Washington, D.C.\u003c/p>\n\u003cp>The honorees will be saluted by performers while seated alongside President Trump and First Lady Melania Trump.\u003c/p>\n\u003cp>While Kennedy Center Honors acknowledge the lifetime achievements of contributors to American culture, the list has traditionally been limited in scope. But the inclusion of LL, born James Todd Smith, in this year’s honoree list further expands the center’s growing embrace of hip-hop culture. Earlier this year the center appointed Simone Eccleston as its first director of Hip-Hop Culture after naming A Tribe Called Quest’s Q-Tip as artistic director of Hip-Hop Culture in 2016. Historic performances by Kendrick Lamar and Common have also underlined the center’s investment, and more programming for the 2017-18 season is expected to be announced in the coming months.\u003c/p>\n\u003cp>At 49, LL will become the Kennedy Center’s youngest honoree, too. It’s a long way from home for the St. Albans, Queens native who made his first record, “I Need A Beat,” at 16, after his demo tape made it to the ears of producer and Def Jam founder Rick Rubin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As rap’s first bona fide solo star, LL was larger than life in the ’80s, the first to embody the street-corner swagger and sex appeal that would become a blueprint for future hip-hop icons ranging from Big Daddy Kane to Biggie. Before an artist like Drake could legitimately mix hip-hop lyricism with R&B vulnerability, LL turned out the first hit rap ballad with 1987’s “I Need Love.” And the ladies loved him for it.\u003c/p>\n\u003cp>Best known today for his starring roles in TV and film, he received his star on the Hollywood Walk of Fame last year. But after a career spanning 30-plus years and 13 albums, he’s yet to leave rap alone — he’s rumored to be in the studio recording with Dr. Dre.\u003c/p>\n\u003cp>In his statement on the Kennedy Center honor, LL credits his grandmother — the same one who inspired his 1990 hit, “Mama Said Knock You Out” — for his success, while dedicating the award to the hip-hop pioneers who preceded and the generations who have since followed.\u003c/p>\n\u003cp>“My late grandmother passed some wise advice to me: ‘If a task is once begun, never leave it ’til it’s done. Be thy labor great or small, do it well or not at all.’ That adage has guided everything I have ever done in my life and I couldn’t be more grateful because it has led me here,” he says. “To be the first rap artist honored by the Kennedy Center is beyond anything I could have imagined. I dedicate this honor to the hip-hop artists who came before me and those who came after me. This simply proves that dreams don’t have deadlines. God is great.”\u003c/p>\n\u003cp>But it takes a teen-aged LL to truly put his pioneering achievements in perspective. When rap still in its infancy, LL was already positioning himself as its rising star.\u003c/p>\n\u003cp>“There hasn’t been a rap star yet, just rappers,” a 19-year-old LL stated in a 1987 for a Bill Adler-penned bio that appeared inside his Def Jam Tour ’87 concert program. “There’ll be a rap star when one of us is standing next to Michael Jackson at the Grammy’s getting just as many as he is\u003cstrong> \u003c/strong>… I want the Bob Hope house and the Benz and the Corvette and the pool. I want to throw balls to my dog in the pool.”\u003c/p>\n\u003cp>“And just remember this,” he added. “I don’t write rhymes to make money. I write from the heart.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 40th Annual Honors will air on CBS on Tuesday, December 26 at 9 p.m. ET.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=LL+Cool+J+To+Become+Kennedy+Center%27s+First+Hip-Hop+Honoree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years after becoming rap’s first sex symbol, LL Cool J will be the first hip-hop artist to receive Kennedy Center Honors in its 40-year history.\u003c/p>\n\u003cp>The rapper-turned-actor born James Todd Smith will be inducted with a prestigious 2017 class — including pop stars Gloria Estefan, Lionel Richie, television icon Norman Lear and choreographer Carmen de Lavallade – on Sunday, Dec. 3 at the Kennedy Center Opera House in Washington, D.C.\u003c/p>\n\u003cp>The honorees will be saluted by performers while seated alongside President Trump and First Lady Melania Trump.\u003c/p>\n\u003cp>While Kennedy Center Honors acknowledge the lifetime achievements of contributors to American culture, the list has traditionally been limited in scope. But the inclusion of LL, born James Todd Smith, in this year’s honoree list further expands the center’s growing embrace of hip-hop culture. Earlier this year the center appointed Simone Eccleston as its first director of Hip-Hop Culture after naming A Tribe Called Quest’s Q-Tip as artistic director of Hip-Hop Culture in 2016. Historic performances by Kendrick Lamar and Common have also underlined the center’s investment, and more programming for the 2017-18 season is expected to be announced in the coming months.\u003c/p>\n\u003cp>At 49, LL will become the Kennedy Center’s youngest honoree, too. It’s a long way from home for the St. Albans, Queens native who made his first record, “I Need A Beat,” at 16, after his demo tape made it to the ears of producer and Def Jam founder Rick Rubin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As rap’s first bona fide solo star, LL was larger than life in the ’80s, the first to embody the street-corner swagger and sex appeal that would become a blueprint for future hip-hop icons ranging from Big Daddy Kane to Biggie. Before an artist like Drake could legitimately mix hip-hop lyricism with R&B vulnerability, LL turned out the first hit rap ballad with 1987’s “I Need Love.” And the ladies loved him for it.\u003c/p>\n\u003cp>Best known today for his starring roles in TV and film, he received his star on the Hollywood Walk of Fame last year. But after a career spanning 30-plus years and 13 albums, he’s yet to leave rap alone — he’s rumored to be in the studio recording with Dr. Dre.\u003c/p>\n\u003cp>In his statement on the Kennedy Center honor, LL credits his grandmother — the same one who inspired his 1990 hit, “Mama Said Knock You Out” — for his success, while dedicating the award to the hip-hop pioneers who preceded and the generations who have since followed.\u003c/p>\n\u003cp>“My late grandmother passed some wise advice to me: ‘If a task is once begun, never leave it ’til it’s done. Be thy labor great or small, do it well or not at all.’ That adage has guided everything I have ever done in my life and I couldn’t be more grateful because it has led me here,” he says. “To be the first rap artist honored by the Kennedy Center is beyond anything I could have imagined. I dedicate this honor to the hip-hop artists who came before me and those who came after me. This simply proves that dreams don’t have deadlines. God is great.”\u003c/p>\n\u003cp>But it takes a teen-aged LL to truly put his pioneering achievements in perspective. When rap still in its infancy, LL was already positioning himself as its rising star.\u003c/p>\n\u003cp>“There hasn’t been a rap star yet, just rappers,” a 19-year-old LL stated in a 1987 for a Bill Adler-penned bio that appeared inside his Def Jam Tour ’87 concert program. “There’ll be a rap star when one of us is standing next to Michael Jackson at the Grammy’s getting just as many as he is\u003cstrong> \u003c/strong>… I want the Bob Hope house and the Benz and the Corvette and the pool. I want to throw balls to my dog in the pool.”\u003c/p>\n\u003cp>“And just remember this,” he added. “I don’t write rhymes to make money. I write from the heart.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 40th Annual Honors will air on CBS on Tuesday, December 26 at 9 p.m. ET.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=LL+Cool+J+To+Become+Kennedy+Center%27s+First+Hip-Hop+Honoree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>UPDATE Aug. 2, 7:45pm\u003c/strong>\u003c/p>\n\u003cp>A Customs and Border Protection official has informed \u003ca href=\"http://ew.com/music/2017/08/02/british-punk-singer-trump-impersonation-denied-us-entry-wrong-visa/\" target=\"_blank\" rel=\"noopener\">Entertainment Weekly\u003c/a> that Peter Bywaters was turned around at SFO for having the wrong visa.\u003c/p>\n\u003cp>“The claim that he was refused entry to the United States because he mocked the president of the United States, that is absolutely not true,” CBP spokesman Jaime Ruiz said.\u003c/p>\n\u003cp>Ruiz said that Bywaters tried to enter the U.S. with a visitor’s visa. Because he was performing, he was required to have a P1 Visa. He also confirmed that the CPB has the authority to determine whether an artist’s work is entertainment or freedom of expression, or a legitimate threat to the United States.\u003c/p>\n\u003cp>The band has yet to respond to the CPB’s statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Original Story\u003c/strong> \u003c/p>\n\u003cp>A singer for a British punk band was detained at San Francisco International Airport (SFO) Saturday for several hours before being sent back to England, and he says he was deported for mocking now-President Donald Trump.\u003c/p>\n\u003cp>Peter Bywaters, front man for Peter and the Test Tube Babies, who are best known for the song “\u003ca href=\"https://www.youtube.com/watch?v=EOQrPKuV4Ow\" target=\"_blank\" rel=\"noopener noreferrer\">Banned From The Pubs\u003c/a>,” was banned from entering the United States, thereby preventing him from performing on July 29 with his band at the Punk Invasion Festival in Santa Ana, Calif. Instead, the band performed with a series of guest singers from other bands on the festival’s bill.\u003c/p>\n\u003cp>https://www.facebook.com/PeterAndTheTestTubeBabies/photos/a.113803845325972.6292.105317342841289/1630503106989364/?type=3&theater\u003c/p>\n\u003cp>\u003cem>A doctored photograph posted by Peter and the Test Tube Babies on their Facebook page\u003c/em>\u003c/p>\n\u003cp>In an exclusive interview with British rock blog \u003ca href=\"http://teamrock.com/news/2017-08-02/peter-the-test-tube-babies-singer-deported-for-mocking-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Team Rock\u003c/a>, Bywaters said security officers pulled him aside for questioning and confronted him with footage from the band’s 2016 tour in Germany, where Bywaters dressed up as Trump and mocked the then-presidential candidate.\u003c/p>\n\u003cp>“I had only been there 30 seconds when the customs and border control guard swung his screen round and said: ‘Is this you?’” Bywaters said. “There, in full view, was a video from last year’s German tour with me dressed as Donald Trump smoking a fake joint.”\u003c/p>\n\u003cp>Bywaters says he was questioned for six hours and fingerprinted before being “forcibly escorted” onto a plane back to England. The airline reportedly wouldn’t let him drink alcohol for the entire 11-hour flight, and he wasn’t given his phone and passport until the plane had landed.\u003c/p>\n\u003cp>U.S. Customs and Border Protection has yet to make a statement.\u003c/p>\n\u003cp>As for Bywaters, he says the band will never play the United States again.\u003c/p>\n\u003cp>Peter and the Test Tube Babies will release their new album, \u003ci>That Shallot,\u003c/i> this September. The first single, “Crap Californian Punk Band,” features Rancid guitarist Lars Frederiksen.\u003c/p>\n\u003cp>\u003ci>Watch footage from Peter and the Test Tube Babies ‘Jinx Jinx Presidential Tour’ below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VizTS3IMMpk\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATE Aug. 2, 7:45pm\u003c/strong>\u003c/p>\n\u003cp>A Customs and Border Protection official has informed \u003ca href=\"http://ew.com/music/2017/08/02/british-punk-singer-trump-impersonation-denied-us-entry-wrong-visa/\" target=\"_blank\" rel=\"noopener\">Entertainment Weekly\u003c/a> that Peter Bywaters was turned around at SFO for having the wrong visa.\u003c/p>\n\u003cp>“The claim that he was refused entry to the United States because he mocked the president of the United States, that is absolutely not true,” CBP spokesman Jaime Ruiz said.\u003c/p>\n\u003cp>Ruiz said that Bywaters tried to enter the U.S. with a visitor’s visa. Because he was performing, he was required to have a P1 Visa. He also confirmed that the CPB has the authority to determine whether an artist’s work is entertainment or freedom of expression, or a legitimate threat to the United States.\u003c/p>\n\u003cp>The band has yet to respond to the CPB’s statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Original Story\u003c/strong> \u003c/p>\n\u003cp>A singer for a British punk band was detained at San Francisco International Airport (SFO) Saturday for several hours before being sent back to England, and he says he was deported for mocking now-President Donald Trump.\u003c/p>\n\u003cp>Peter Bywaters, front man for Peter and the Test Tube Babies, who are best known for the song “\u003ca href=\"https://www.youtube.com/watch?v=EOQrPKuV4Ow\" target=\"_blank\" rel=\"noopener noreferrer\">Banned From The Pubs\u003c/a>,” was banned from entering the United States, thereby preventing him from performing on July 29 with his band at the Punk Invasion Festival in Santa Ana, Calif. Instead, the band performed with a series of guest singers from other bands on the festival’s bill.\u003c/p>\n\u003cp>https://www.facebook.com/PeterAndTheTestTubeBabies/photos/a.113803845325972.6292.105317342841289/1630503106989364/?type=3&theater\u003c/p>\n\u003cp>\u003cem>A doctored photograph posted by Peter and the Test Tube Babies on their Facebook page\u003c/em>\u003c/p>\n\u003cp>In an exclusive interview with British rock blog \u003ca href=\"http://teamrock.com/news/2017-08-02/peter-the-test-tube-babies-singer-deported-for-mocking-trump\" target=\"_blank\" rel=\"noopener noreferrer\">Team Rock\u003c/a>, Bywaters said security officers pulled him aside for questioning and confronted him with footage from the band’s 2016 tour in Germany, where Bywaters dressed up as Trump and mocked the then-presidential candidate.\u003c/p>\n\u003cp>“I had only been there 30 seconds when the customs and border control guard swung his screen round and said: ‘Is this you?’” Bywaters said. “There, in full view, was a video from last year’s German tour with me dressed as Donald Trump smoking a fake joint.”\u003c/p>\n\u003cp>Bywaters says he was questioned for six hours and fingerprinted before being “forcibly escorted” onto a plane back to England. The airline reportedly wouldn’t let him drink alcohol for the entire 11-hour flight, and he wasn’t given his phone and passport until the plane had landed.\u003c/p>\n\u003cp>U.S. Customs and Border Protection has yet to make a statement.\u003c/p>\n\u003cp>As for Bywaters, he says the band will never play the United States again.\u003c/p>\n\u003cp>Peter and the Test Tube Babies will release their new album, \u003ci>That Shallot,\u003c/i> this September. The first single, “Crap Californian Punk Band,” features Rancid guitarist Lars Frederiksen.\u003c/p>\n\u003cp>\u003ci>Watch footage from Peter and the Test Tube Babies ‘Jinx Jinx Presidential Tour’ below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VizTS3IMMpk'\n title='//www.youtube.com/embed/VizTS3IMMpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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