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"content": "\u003cp>Chester Bennington, one of the lead singers for the band Linkin Park and the former singer for Stone Temple Pilots, has died. His death was confirmed to NPR Thursday afternoon by the Los Angeles County Coroner’s office, which said that his body was discovered at a house within the 2800 block of Palos Verdes Estates in Los Angeles, and that investigators are currently on the scene. The death is “being looked at as a possible suicide at this time,” according to Brian Elias of the L.A. County Coroner’s office. Bennington was 41 years old.\u003c/p>\n\u003cp>Earlier this month, Linkin Park finished a European and U.K. leg of an international tour in support of its current album, \u003cem>One More Light\u003c/em>, with guest artists Machine Gun Kelly, One OK Rock and Snoop Dogg; the band’s next scheduled tour date is for July 27 in Mansfield, Mass.\u003c/p>\n\u003cp>Although the rap-rock band never gained much critical acclaim, Linkin Park was a popular staple in the early 2000s. Its debut album in 2000, \u003cem>Hybrid Theory\u003c/em>, became the best-selling rock album of that decade, and the group went on to sell more than 50 million units. At the height of its popularity, Linkin Park toured relentlessly — the band reportedly tallied \u003ca href=\"http://grantland.com/features/the-winners-history-rock-roll-part-6-linkin-park/\" target=\"_blank\" rel=\"noopener\">342\u003c/a> live shows just in the year 2001. Overall, Linkin Park scored \u003ca href=\"http://www.billboard.com/artist/307438/linkin-park/chart?sort=position&f=379\" target=\"_blank\" rel=\"noopener\">six\u003c/a> Top 20 hits on the Billboard Hot 100 chart. But Linkin Park got credibility for some collaborations with hip-hop artists, including \u003cem>Collision Course\u003c/em>, a 2004 EP the band recorded with Jay-Z.\u003c/p>\n\u003cp>In addition to his Linkin Park work, Bennington served as the lead singer of Stone Temple Pilots between 2013 and 2015.\u003c/p>\n\u003cp>Today is also the birth date of one of Bennington’s close friends, the late Soundgarden and Audioslave frontman Chris Cornell, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/18/528899410/chris-cornell-powerhouse-voice-of-soundgarden-and-audioslave-dies-at-52\" target=\"_blank\" rel=\"noopener\">committed suicide\u003c/a> in May. Cornell and Bennington were \u003ca href=\"http://www.stereogum.com/1941913/chris-cornell-remembered-by-his-friend-chester-bennington/news/\" target=\"_blank\" rel=\"noopener\">close friends\u003c/a>, and the Linkin Park singer \u003ca href=\"http://www.billboard.com/articles/columns/rock/7809573/chris-cornell-funeral-chester-bennington-tom-morello-josh-brolin\" target=\"_blank\" rel=\"noopener\">sang\u003c/a> at Cornell’s memorial service in May. \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=Linkin+Park+Singer+Chester+Bennington+Dead+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chester Bennington, one of the lead singers for the band Linkin Park and the former singer for Stone Temple Pilots, has died. His death was confirmed to NPR Thursday afternoon by the Los Angeles County Coroner’s office, which said that his body was discovered at a house within the 2800 block of Palos Verdes Estates in Los Angeles, and that investigators are currently on the scene. The death is “being looked at as a possible suicide at this time,” according to Brian Elias of the L.A. County Coroner’s office. Bennington was 41 years old.\u003c/p>\n\u003cp>Earlier this month, Linkin Park finished a European and U.K. leg of an international tour in support of its current album, \u003cem>One More Light\u003c/em>, with guest artists Machine Gun Kelly, One OK Rock and Snoop Dogg; the band’s next scheduled tour date is for July 27 in Mansfield, Mass.\u003c/p>\n\u003cp>Although the rap-rock band never gained much critical acclaim, Linkin Park was a popular staple in the early 2000s. Its debut album in 2000, \u003cem>Hybrid Theory\u003c/em>, became the best-selling rock album of that decade, and the group went on to sell more than 50 million units. At the height of its popularity, Linkin Park toured relentlessly — the band reportedly tallied \u003ca href=\"http://grantland.com/features/the-winners-history-rock-roll-part-6-linkin-park/\" target=\"_blank\" rel=\"noopener\">342\u003c/a> live shows just in the year 2001. Overall, Linkin Park scored \u003ca href=\"http://www.billboard.com/artist/307438/linkin-park/chart?sort=position&f=379\" target=\"_blank\" rel=\"noopener\">six\u003c/a> Top 20 hits on the Billboard Hot 100 chart. But Linkin Park got credibility for some collaborations with hip-hop artists, including \u003cem>Collision Course\u003c/em>, a 2004 EP the band recorded with Jay-Z.\u003c/p>\n\u003cp>In addition to his Linkin Park work, Bennington served as the lead singer of Stone Temple Pilots between 2013 and 2015.\u003c/p>\n\u003cp>Today is also the birth date of one of Bennington’s close friends, the late Soundgarden and Audioslave frontman Chris Cornell, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/18/528899410/chris-cornell-powerhouse-voice-of-soundgarden-and-audioslave-dies-at-52\" target=\"_blank\" rel=\"noopener\">committed suicide\u003c/a> in May. Cornell and Bennington were \u003ca href=\"http://www.stereogum.com/1941913/chris-cornell-remembered-by-his-friend-chester-bennington/news/\" target=\"_blank\" rel=\"noopener\">close friends\u003c/a>, and the Linkin Park singer \u003ca href=\"http://www.billboard.com/articles/columns/rock/7809573/chris-cornell-funeral-chester-bennington-tom-morello-josh-brolin\" target=\"_blank\" rel=\"noopener\">sang\u003c/a> at Cornell’s memorial service in May. \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=Linkin+Park+Singer+Chester+Bennington+Dead+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Hawaii Five-0' Casting Announcement Doesn't Fix CBS's Larger Diversity Problem",
"headTitle": "‘Hawaii Five-0’ Casting Announcement Doesn’t Fix CBS’s Larger Diversity Problem | KQED",
"content": "\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one’s surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show’s most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show’s white co-stars, Alex O’Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that’s kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the “racial wage gap” on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on “racism.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it’s not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show’s formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>“I don’t understand why we’re dealing with this issue now,” says Brenda Ching, executive director of the Hawaii chapter of the performers’ union SAG-AFTRA. “Obviously, the success of the show has been phenomenal, and everybody’s role has built the show. … Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.”\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show’s life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O’Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim’s and Park’s departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors “chose not to extend their contracts” after “getting unprecedented raises” in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they “tried very hard to keep them with offers for large and significant salary increases.” \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O’Loughlin make about $200,000 per episode, plus a small share of the show’s back-end profits; Kim was offered a salary about $5,000 short of the show’s leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, “As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,” later adding, “The path to equality is rarely easy.”\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\n\u003cp>“I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave … I support [Kim] and [Park] in their decision to stand up for what they believe is right.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s true that it isn’t unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I’ve used \u003cem>Hawaii Five-0\u003c/em> star O’Loughlin’s career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O’Loughlin ‘s first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season.\u003cstrong> \u003c/strong>CBS clearly wanted to be in the O’Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it’s tough to understand why it was so hard for CBS and the show’s producers to pay them as O’Loughlin’s equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn’t announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on. \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=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the network TV definition of too little, too late.\u003c/p>\n\u003cp>On Wednesday, CBS announced the names of three new actors who will be joining the cast of its long-running cop drama \u003cem>Hawaii Five-0\u003c/em>. To no one’s surprise, all three actors are nonwhite: Ian Anthony Dale is half Japanese, Meaghan Rath is half South Asian and Beulah Koale is of Samoan descent.\u003c/p>\n\u003cp>The announcement comes not long after the series weathered intense criticism when the show’s most visible cast members of Asian descent left. Daniel Dae Kim, who is Korean-American, and Grace Park, a Canadian-American of Korean descent, left the program after CBS failed to raise their pay to the same level as the show’s white co-stars, Alex O’Loughlin and Scott Caan.\u003c/p>\n\u003cp>(Another co-star, Masi Oka, who is a Japanese citizen, left the show in January.)\u003c/p>\n\u003cp>Given that \u003cem>Hawaii Five-0 \u003c/em>is set in one of the most diverse states in America, that’s kind of an issue. And the headlines were brutal. \u003cem>The Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/news/arts-and-entertainment/wp/2017/07/06/hawaii-five-0-cast-departures-highlight-racial-wage-gap-in-tv/?utm_term=.9f5713cb47c9\">decried\u003c/a> the “racial wage gap” on TV. Syndicated columnist Ruben Navarrette \u003ca href=\"http://www.mercurynews.com/2017/07/07/navarrette-cbs-handling-of-hawaii-five-0-stars-flat-out-racist/\">blamed the pay gap\u003c/a> on “racism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the real problem here goes all the way back to when CBS first developed the show. And it’s not the only drama on the network with this difficulty.\u003c/p>\n\u003cp>When CBS first created the new \u003cem>Hawaii Five-0,\u003c/em> it retained the old show’s formula of centering the action on two white male stars, setting up talented actors like Kim and Park to play second fiddle for the life of the series.\u003c/p>\n\u003cp>“I don’t understand why we’re dealing with this issue now,” says Brenda Ching, executive director of the Hawaii chapter of the performers’ union SAG-AFTRA. “Obviously, the success of the show has been phenomenal, and everybody’s role has built the show. … Even if you look back to the original \u003cem>Five-0,\u003c/em> what made the show was the diversity of the environment.”\u003c/p>\n\u003cp>CBS has long followed the formula of surrounding white male leads with a diverse group of supporting characters (\u003cem>NCIS: New Orleans,\u003c/em> \u003cem>Bull,\u003c/em> the \u003cem>MacGyver\u003c/em> remake). They have tweaked that pattern occasionally to actually feature women and people of color as co-leads \u003cem>(NCIS: Los Angeles,\u003c/em> \u003cem>Elementary, Superior Donuts).\u003c/em>\u003c/p>\n\u003cp>But when CBS debuts its fall season in September, the network will have just one show that features a nonwhite person as the sole lead character: a reboot of \u003cem>S.W.A.T.,\u003c/em> starring Shemar Moore, who is biracial.\u003c/p>\n\u003cp>This is why diversity is so important for networks to embrace: Decisions made at the beginning of a show’s life have ripple effects that extend throughout the life of the show and across the network for years to come.\u003c/p>\n\u003cp>Complicating things further is the way \u003cem>Hawaii Five-0 \u003c/em>marketing material often framed O’Loughlin, Caan, Park and Kim as equal characters, in some cases \u003ca href=\"https://fairyprincessdiaries.com/2017/07/07/calling-bs-on-hawaiifiveocbs/\">putting Park and Kim front and center\u003c/a>. For anyone looking to criticize the show for focusing on white characters, the pictures could argue otherwise — but it also could lead fans to assume all four characters were an equal ensemble in every way, including pay.\u003c/p>\n\u003cp>As the controversy over Kim’s and Park’s departures grew\u003cem>, Hawaii Five-0\u003c/em> executive producer Peter Lenkov \u003ca href=\"https://twitter.com/PLenkov/status/883051023299788800\">posted a note on Twitter\u003c/a> saying the actors “chose not to extend their contracts” after “getting unprecedented raises” in negotiations, listing the diversity of actors elsewhere in the cast. CBS issued a statement praising Kim and Park, noting they “tried very hard to keep them with offers for large and significant salary increases.” \u003cem>Variety\u003c/em> has \u003ca href=\"http://variety.com/2017/tv/news/hawaii-5-0-daniel-dae-kim-grace-park-deals-1202488221/\">reported\u003c/a> that Caan and O’Loughlin make about $200,000 per episode, plus a small share of the show’s back-end profits; Kim was offered a salary about $5,000 short of the show’s leads and a production deal.\u003c/p>\n\u003cp>Kim issued a \u003ca href=\"https://www.facebook.com/136577846385452/photos/a.141032709273299.23386.136577846385452/1500305656679324\">statement on Facebook\u003c/a> thanking fans, the network and those who worked on the show. He noted, “As an Asian American actor, I know first-hand how difficult it is to find opportunities at all,” later adding, “The path to equality is rarely easy.”\u003c/p>\n\u003cp>Oka emailed a statement to NPR:\u003c/p>\n\u003cblockquote>\n\u003cp>“I was as saddened as anyone to learn of Daniel and Grace leaving \u003cem>Hawaii Five-0\u003c/em> but I, probably more so than most, understand their reason for doing so. Sometimes you have to draw the line in the sand for something you believe in and something for which you stand. While pay equality was not my personal primary decision to leave … I support [Kim] and [Park] in their decision to stand up for what they believe is right.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It’s true that it isn’t unusual for long-running TV shows to lose cast members as the program ages — everyone seeks pay raises, and the network tries to keep a handle on costs. Kim and Park were also different negotiations, and Lenkov said Park declined an opportunity to appear in a handful of episodes next season.\u003c/p>\n\u003cp>But these are specific issues connected to a larger, structural problem.\u003c/p>\n\u003cp>For years, I’ve used \u003cem>Hawaii Five-0\u003c/em> star O’Loughlin’s career as an example of how the TV industry gives white males the kinds of opportunities actors of color rarely share.\u003c/p>\n\u003cp>O’Loughlin ‘s first starring role on CBS was as a vampire private eye in the drama series \u003cem>Moonlight,\u003c/em> which was canceled after its first season in 2008. A year later, the Australian actor was playing a Pittsburgh-based transplant surgeon on the CBS medical drama \u003cem>Three Rivers,\u003c/em> which was also canceled after its first season.\u003cstrong> \u003c/strong>CBS clearly wanted to be in the O’Loughlin business, and it finally found success casting him in a program that seemed poised to do well — a 2010 remake of a beloved CBS cop show.\u003c/p>\n\u003cp>But given that Kim had co-starred on the hit show \u003cem>Lost \u003c/em>and Park had co-starred on the critically acclaimed reboot of \u003cem>Battlestar Galactica,\u003c/em> it’s tough to understand why it was so hard for CBS and the show’s producers to pay them as O’Loughlin’s equals.\u003c/p>\n\u003cp>The network has a similar problem with gender. For the second year in a row, every new CBS show this fall will star men, and all but one will star white men. Last TV season, CBS had one new scripted show starring a woman (\u003cem>Doubt,\u003c/em> featuring Katherine Heigl), but it was quickly canceled (the network is burning off unaired episodes this summer). CBS hasn’t announced any new scripted shows starring women for the 2017-2018 season.\u003c/p>\n\u003cp>So what happens the next time the network faces a pay dispute with a female co-star on a TV show?\u003c/p>\n\u003cp>Shows like \u003cem>Doubt,\u003c/em> \u003cem>S.W.A.T.\u003c/em> and \u003cem>Superior Donuts\u003c/em> (where co-star Jermaine Fowler, who is black, is also an executive producer) seem like efforts by CBS to break the pattern. But that change is coming too gradually; today, the worlds CBS portrays are out of step with the diversity of real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The only question left is whether CBS will use this situation as a teachable moment, or let the wage gap live on. \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=%27Hawaii+Five-0%27+Casting+Announcement+Doesn%27t+Fix+CBS%27s+Larger+Diversity+Problem&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and A-lan's Picks: Brave New Voices, Seeking Sanctuary, and Divine Black Women",
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"content": "\u003cp>My co-host this week is A-lan Holt, a playwright and movie maker (\u003cem>\u003ca href=\"http://www.inamoratafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Inamorata\u003c/a>–\u003c/em> with a screening August 4th at the Blackstar Film Fest), and the Associate Director of \u003ca href=\"https://diversityarts.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford’s Institute for Diversity in the Arts\u003c/a> (Instagram @a_lanmoon). Now here’s our picks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LDtUS0k5r9o\u003c/p>\n\u003cp>\u003cstrong>July 20 – Aug 26\u003c/strong>: “Abracadabrakaafrika” (the video above) by Oakland singer, community organizer and video maker Zakiya Harris is just one of the works on display at \u003ca href=\"http://www.somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a> in San Francisco as part of the new exhibit, \u003cem>The Black Woman Is God: Divine Revolution.\u003c/em> Co-curated by Karen Seneferu and Melora Green, the exhibition features works by 60 black women artists in a range of styles and media. The show touches on how African religions (Yoruba and others) feature female deities. But it’s also about how artists, like gods, are creators. “What does it mean for a black woman to create,” Seneferu told me, with Green finishing her thought. “To add to that, to have the audacity to create.” Green said. “When you look around this room, you’ll find a lot of women who’ve been creating in hiding. Most of these artists have experienced someone telling them that it (their work) doesn’t look good or doesn’t fit. And in this room, we’re saying your work is dope as hell.” \u003c/p>\n\u003cp>SOMarts will also host a \u003ca href=\"http://www.somarts.org/theblackwomanisgodwikipedia/\" target=\"_blank\" rel=\"noopener\">Wikipedia edit-a-thon\u003c/a> on Saturday, July 22, inviting people to help fill in the gaps in art history minimizing black women artists. Admission is always free. Details for the show at \u003ca href=\"http://www.somarts.org/theblackwomanisgodopening2017/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13696351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg\" alt=\"Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 – Aug. 13\u003c/strong>: \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a>, San Jose’s Chicano and Latino arts space, is hosting the show \u003cem>Shelter/Refugio,\u003c/em> a critique of how we think about everything from the evaporating American dream of a suburban home, to how we care for the homeless, the immigrant, and the refugee. The show includes a piece by \u003ca href=\"http://christreggiari.com/home.html\" target=\"_blank\" rel=\"noopener\">Chris Treggiari\u003c/a> and (UCSF Professor) \u003ca href=\"https://www.usfca.edu/faculty/sergio-de-la-torre\" target=\"_blank\" rel=\"noopener\">Sergio De La Torre\u003c/a> that simulates a raid by immigration agents inside the gallery. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For us the idea of a shelter is a place where you feel safe,” De La Torre told me by phone. “No matter whether you’re homeless or undocumented. Everyone deserves a safe place — a sanctuary.” \u003c/p>\n\u003cp>\u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">Details here for \u003cem>Shelter/Refugio. \u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13696403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg\" alt=\"Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1920x1337.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 20 – Oct 22\u003c/strong>:\u003cem> \u003c/em>We also talked to De La Torre partly because he and Chris Treggiari are also mounting a participatory show at the Yerba Buena Center for the Arts in San Francisco on themes they explored in the MACLA show. \u003cem>Sanctury Print Shop\u003c/em> is meant to educate people about the concept of a \u003ca href=\"https://en.wikipedia.org/wiki/Sanctuary_city\" target=\"_blank\" rel=\"noopener\">sanctuary city\u003c/a>. They’re offering free sikscreen workshops for visitors throughout the run of the show. \u003ca href=\"https://www.ybca.org/whats-on/sanctuary-print-shop\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I4LMAVzzaR8\u003c/p>\n\u003cp>\u003cstrong>July 21-22\u003c/strong>: The video above is a sample from the Baltimore team’s performance at last year’s Brave New Voices International Youth Poetry Slam Competition, a festival that is bringing teams of young poets from around the world to the East Bay and San Francisco. The local festival is hosted by \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, which trains Bay Area kids to write and perform. When she was a teenager, A-lan used to sneak out of her home in Los Angeles to attend Grand Slam competitions. She was knocked out by the passion and brilliance of the performers, the laughter and the deep introspection. The \u003ca href=\"http://bnv17.youthspeaks.org/the-slam/\" target=\"_blank\" rel=\"noopener noreferrer\">semi-finals and quarter-finals are at venues all over Berkeley and Oakland on Friday\u003c/a> afternoon and evening and they’re free, and the Grand Slam finals are at the San Francisco Opera House, a venue used to high emotion. As A-lan said, ‘You better believe “the next generation can speak for themselves.”’ \u003ca href=\"http://bnv17.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1PTjNqysmHk\u003c/p>\n\u003cp>\u003cstrong>Aug 11-13\u003c/strong>: Antoine Hunter’s \u003ca href=\"http://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> continues its impressively subversive mission with the fifth season of the \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener\">Bay Area International Deaf Dance Festival.\u003c/a> “The beautiful thing,” A-lan said, “about creating more visibility around the deaf and hard of hearing community is that is expands our understanding of communication.” There are performances and workshops featuring all kinds of dance styles, including ASL dance, a reminder that signing is a kind of beautiful movement as well. The workshops are in San Francisco at Dance Mission Theater in the Mission and at the Deaf Community Center in San Leandro. \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the festival are here. pat Dance Mission Theater in San Francisco are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IPbiklLnDQo\u003c/p>\n\u003cp>\u003cstrong>July 26\u003c/strong>: Beth Ditto says she never fit in in her hometown in rural Arkansas, maybe because she describes herself as a “fat feminist lesbian.” The former lead singer for the band Gossip has a hot album out now on her own that features 12 new songs. I love how she brings so much country to this mix of disco and power ballad and rock and roll. A-lan loves how the way she presses a body-positive message in danceable form. She’s known for her powerful live shows, so we’re wishing her best after a hospitalization earlier this month in New York and hopes that it doesn’t derail the rest of her tour. \u003ca href=\"http://www.theindependentsf.com/event/1479457-beth-ditto-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details for her show at the Independent in San Francisco are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks so much to A-lan for joining us this week\u003c/p>\n\u003cfigure id=\"attachment_13696992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg\" alt=\"KQED's Cy Musiker and Stanford's A-lan Holt hosted The Do List this week\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-520x270.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Stanford’s A-lan Holt hosted The Do List this week \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is A-lan Holt, a playwright and movie maker (\u003cem>\u003ca href=\"http://www.inamoratafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Inamorata\u003c/a>–\u003c/em> with a screening August 4th at the Blackstar Film Fest), and the Associate Director of \u003ca href=\"https://diversityarts.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford’s Institute for Diversity in the Arts\u003c/a> (Instagram @a_lanmoon). Now here’s our picks.\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/LDtUS0k5r9o'\n title='//www.youtube.com/embed/LDtUS0k5r9o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 20 – Aug 26\u003c/strong>: “Abracadabrakaafrika” (the video above) by Oakland singer, community organizer and video maker Zakiya Harris is just one of the works on display at \u003ca href=\"http://www.somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a> in San Francisco as part of the new exhibit, \u003cem>The Black Woman Is God: Divine Revolution.\u003c/em> Co-curated by Karen Seneferu and Melora Green, the exhibition features works by 60 black women artists in a range of styles and media. The show touches on how African religions (Yoruba and others) feature female deities. But it’s also about how artists, like gods, are creators. “What does it mean for a black woman to create,” Seneferu told me, with Green finishing her thought. “To add to that, to have the audacity to create.” Green said. “When you look around this room, you’ll find a lot of women who’ve been creating in hiding. Most of these artists have experienced someone telling them that it (their work) doesn’t look good or doesn’t fit. And in this room, we’re saying your work is dope as hell.” \u003c/p>\n\u003cp>SOMarts will also host a \u003ca href=\"http://www.somarts.org/theblackwomanisgodwikipedia/\" target=\"_blank\" rel=\"noopener\">Wikipedia edit-a-thon\u003c/a> on Saturday, July 22, inviting people to help fill in the gaps in art history minimizing black women artists. Admission is always free. Details for the show at \u003ca href=\"http://www.somarts.org/theblackwomanisgodopening2017/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13696351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg\" alt=\"Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-768x551.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-1180x846.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-960x688.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/MonsalveRagg_IUTLH_1-e1495050262558-520x373.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Adriana Monsalve, part of the Shelter/Refugio show at MACLA in San Jose \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2 – Aug. 13\u003c/strong>: \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a>, San Jose’s Chicano and Latino arts space, is hosting the show \u003cem>Shelter/Refugio,\u003c/em> a critique of how we think about everything from the evaporating American dream of a suburban home, to how we care for the homeless, the immigrant, and the refugee. The show includes a piece by \u003ca href=\"http://christreggiari.com/home.html\" target=\"_blank\" rel=\"noopener\">Chris Treggiari\u003c/a> and (UCSF Professor) \u003ca href=\"https://www.usfca.edu/faculty/sergio-de-la-torre\" target=\"_blank\" rel=\"noopener\">Sergio De La Torre\u003c/a> that simulates a raid by immigration agents inside the gallery. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For us the idea of a shelter is a place where you feel safe,” De La Torre told me by phone. “No matter whether you’re homeless or undocumented. Everyone deserves a safe place — a sanctuary.” \u003c/p>\n\u003cp>\u003ca href=\"http://maclaarte.org/programs/visual-arts/\" target=\"_blank\" rel=\"noopener\">Details here for \u003cem>Shelter/Refugio. \u003c/em>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13696403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg\" alt=\"Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1920x1337.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-1180x822.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Sanctuary-Print-Shop-520x362.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sanctuary Print Shop, an art show and free silkscreen workshop opens July 20 at YBCA \u003ccite>(Photo: Courtesy of YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 20 – Oct 22\u003c/strong>:\u003cem> \u003c/em>We also talked to De La Torre partly because he and Chris Treggiari are also mounting a participatory show at the Yerba Buena Center for the Arts in San Francisco on themes they explored in the MACLA show. \u003cem>Sanctury Print Shop\u003c/em> is meant to educate people about the concept of a \u003ca href=\"https://en.wikipedia.org/wiki/Sanctuary_city\" target=\"_blank\" rel=\"noopener\">sanctuary city\u003c/a>. They’re offering free sikscreen workshops for visitors throughout the run of the show. \u003ca href=\"https://www.ybca.org/whats-on/sanctuary-print-shop\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I4LMAVzzaR8'\n title='//www.youtube.com/embed/I4LMAVzzaR8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 21-22\u003c/strong>: The video above is a sample from the Baltimore team’s performance at last year’s Brave New Voices International Youth Poetry Slam Competition, a festival that is bringing teams of young poets from around the world to the East Bay and San Francisco. The local festival is hosted by \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>, which trains Bay Area kids to write and perform. When she was a teenager, A-lan used to sneak out of her home in Los Angeles to attend Grand Slam competitions. She was knocked out by the passion and brilliance of the performers, the laughter and the deep introspection. The \u003ca href=\"http://bnv17.youthspeaks.org/the-slam/\" target=\"_blank\" rel=\"noopener noreferrer\">semi-finals and quarter-finals are at venues all over Berkeley and Oakland on Friday\u003c/a> afternoon and evening and they’re free, and the Grand Slam finals are at the San Francisco Opera House, a venue used to high emotion. As A-lan said, ‘You better believe “the next generation can speak for themselves.”’ \u003ca href=\"http://bnv17.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1PTjNqysmHk'\n title='//www.youtube.com/embed/1PTjNqysmHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug 11-13\u003c/strong>: Antoine Hunter’s \u003ca href=\"http://www.realurbanjazzdance.com/\" target=\"_blank\" rel=\"noopener\">Urban Jazz Dance Company\u003c/a> continues its impressively subversive mission with the fifth season of the \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener\">Bay Area International Deaf Dance Festival.\u003c/a> “The beautiful thing,” A-lan said, “about creating more visibility around the deaf and hard of hearing community is that is expands our understanding of communication.” There are performances and workshops featuring all kinds of dance styles, including ASL dance, a reminder that signing is a kind of beautiful movement as well. The workshops are in San Francisco at Dance Mission Theater in the Mission and at the Deaf Community Center in San Leandro. \u003ca href=\"http://www.realurbanjazzdance.com/bay-area-international-deaf-dance-festival.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the festival are here. pat Dance Mission Theater in San Francisco are here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IPbiklLnDQo'\n title='//www.youtube.com/embed/IPbiklLnDQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 26\u003c/strong>: Beth Ditto says she never fit in in her hometown in rural Arkansas, maybe because she describes herself as a “fat feminist lesbian.” The former lead singer for the band Gossip has a hot album out now on her own that features 12 new songs. I love how she brings so much country to this mix of disco and power ballad and rock and roll. A-lan loves how the way she presses a body-positive message in danceable form. She’s known for her powerful live shows, so we’re wishing her best after a hospitalization earlier this month in New York and hopes that it doesn’t derail the rest of her tour. \u003ca href=\"http://www.theindependentsf.com/event/1479457-beth-ditto-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details for her show at the Independent in San Francisco are here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thanks so much to A-lan for joining us this week\u003c/p>\n\u003cfigure id=\"attachment_13696992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg\" alt=\"KQED's Cy Musiker and Stanford's A-lan Holt hosted The Do List this week\" width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-768x399.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1020x530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1920x998.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-1180x613.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-960x499.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-3-e1500505303140-520x270.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Stanford’s A-lan Holt hosted The Do List this week \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "parents-lament-loss-as-sunnyvales-california-theatre-center-closes",
"title": "Parents Lament Loss as Sunnyvale's California Theatre Center Closes",
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"content": "\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Dear Friend of CTC,” begins the post on the California Theatre Center’s \u003ca href=\"https://www.facebook.com/CaliforniaTheatreCenter/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>California Theatre Center will be closing its doors, effective August 1, 2017.\u003c/em>\u003c/p>\n\u003cp>\u003cem>After 41 years in the business of offering performances to audiences of over seven million and providing education programs for thousands of students, CTC’s board and senior management, after careful deliberation, have concluded that it is not possible to maintain our quality of services to our community. Escalating costs and limited resources make it unsustainable for the compa\u003cspan class=\"text_exposed_show\">ny to continue operation.\u003c/span>\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>Community reaction was immediate and rueful. Here’s one typical comment from Alex Moissis: “\u003cspan class=\"UFICommentBody _1n4g\">How sad! … Our children … owe their confidence on stage and their communication and team-building skills to their mentors and friends at CTC. Through the program their command of the English language expanded as they became acquainted with wonderful theater works. Our family will never forget CTC.”\u003c/span>\u003c/p>\n\u003cp>Josie Saracino taught kindergarten and first grade for 20 years at Peninsula School in Menlo Park. “All of those years, I brought my kids to the California Theatre Center. A lot of them had never seen a live performance.”\u003c/p>\n\u003cp>Saracino would build lesson plans around the play. The class would read the book beforehand, and draw their favorite scenes after. “It was so wonderful. I wish they could have found a funder,” Saracino said.\u003c/p>\n\u003cp>“I’m having trouble finding words to express my sorrow at the loss of this great resource to our educational community,” wrote Kathleen Flynn, a teacher at Ohlone Elementary School in Palo Alto. “I cannot tell you how many wonderful plays our kids saw at CTC and how these talented actors and actresses brought to life so many stories for them…I just don’t see how we can allow this to happen as a community. I’m heart broken.”\u003c/p>\n\u003cfigure id=\"attachment_13696700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13696700 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg\" alt='From \"Peter Rabbit,\" performed by the California Theatre Center.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/DSC_0830-2-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From “Peter Rabbit,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"https://www.ctcinc.org\" target=\"_blank\" rel=\"noopener noreferrer\">California Theatre Center’\u003c/a>s Box Office Manager Diana Burnell wrote KQED to say that the rising cost of living in Silicon Valley led to the closure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have been struggling for years to make ends meet. Essentially, the costs of doing business in Silicon Valley just kept increasing and we were unable to increase income to meet those costs,” Burnell wrote. “We hired full-time actor/teachers and administrators, and being able to pay them a livable wage in Silicon Valley became nigh impossible.”\u003c/p>\n\u003cp>Not to mention the cost of renting space, and everything else, Burnell says. “The rental costs for our offices, storage, and the theaters we used (including the Sunnyvale Community Center Theatre), as well as other costs such as insurance, set and costume supplies, and hotel costs (when we toured across the western states) kept increasing year after year.”\u003c/p>\n\u003cp>Burnell added that the Center relied largely on ticket sales and tuition fees, as opposed to donations.\u003c/p>\n\u003cp>“Changes in field trip policies (bus costs, background checks and other restrictions on parent drivers, car seat laws, among others) had a large impact on the number of tickets we were able to sell for our field trip performances,” Burnell wrote. “Enrollment in our Education programs was also declining, as more theatre programs became available and as more STEM oriented programs arose.”\u003c/p>\n\u003cfigure id=\"attachment_13696702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13696702\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg\" alt=\"A scene from "Madeline's Christmas," performed by the California Theatre Center.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/4219377531-2.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from “Madeline’s Christmas,” performed by the California Theatre Center. \u003ccite>(Photo: Courtesy of the California Theatre Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sunnyvale Mayor Glenn Hendricks provided this brief statement: “Community theater is a vital part of creative arts in our community and we’re grateful to the California Theatre Center for their dedication to performance over the years.”\u003c/p>\n\u003cp>Dale Albright, Program Director at \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a> in San Francisco, sounded sad over CTC’s news when he spoke to KQED Wednesday. He said he knew many people who have come from the California Theatre Center or went on to work there, including two couples who met at CTC and later married.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I recognize the impact (the CTC) had on youth and arts education,” Albright said. “They live in a world that’s connected, adjacent to mine.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jake Paul's Neighbors Could Try to Declare Him a Public Nuisance",
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"content": "\u003cp>“It’s terrible, it’s a bad situation” — and that’s how the creator of the situation, YouTube star Jake Paul, describes what his neighbors in West Hollywood are going through because of his rowdy lifestyle and made-for-video antics.\u003c/p>\n\u003cp>Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements — and they could file a class-action lawsuit that seeks to declare Paul a public nuisance, \u003ca href=\"http://ktla.com/2017/07/17/in-west-hollywood-social-media-star-jake-pauls-antics-stir-up-the-neighborhood/\" target=\"_blank\" rel=\"noopener\">local TV station KTLA 5\u003c/a> reports.\u003c/p>\n\u003cp>“I feel bad for them, for sure,” Paul, 20, said of his neighbors when KTLA visited his street. But he added, “There’s nothing we can do, though — the Jake Paulers are the strongest army out there,” using his nickname for his millions of followers.\u003c/p>\n\u003cp>When KTLA’s Chris Wolfe told Paul that some residents said he’s turned the area into a circus, Paul replied, “Yeah, it is. I mean, but people like going to circuses, right?”\u003c/p>\n\u003cp>The situation has generated hubbub in part because of Paul’s popularity — he has more than 8.5 million followers on both YouTube and on Instagram. Working with other social media stars under the title Team 10, his videos often include pranks and antics that center around his home’s pool — from sliding things and people into it to using it as a huge fire pit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is a Team 10 house, and it is lit every single day, bro,” Paul says in one video.\u003c/p>\n\u003cp>His neighbors would like for it not to be lit so often — and not so loudly.\u003c/p>\n\u003cp>“We used to be a really nice, quiet street and now we’re just this, like, war zone,” neighbor Maytal Dahan told KTLA. “We’re families here, and we’re more than happy to have them live here if they’re respectful of their neighbors — but they’re not.”\u003c/p>\n\u003cp>Paul earns millions of dollars from his YouTube channel, according to an estimate from social media tracker \u003ca href=\"https://socialblade.com/youtube/c/jakepaulchannel\">Social Blade\u003c/a>. In addition to being an online celebrity, he is also an actor on \u003cem>Bizaardvark\u003c/em>, a Disney Channel show about … online celebrities.\u003c/p>\n\u003cp>https://twitter.com/jakepaul/status/887531517685248000\u003c/p>\n\u003cp>After local reports about the dispute on his block began to get attention far beyond California, Paul tweeted, “Lol it’s trending.” He later questioned \u003ca href=\"https://twitter.com/jakepaul/status/887531517685248000\" target=\"_blank\" rel=\"noopener\">why so many people care\u003c/a> about him “being a ‘bad’ neighbor,” particularly at a time when “innocent [people are] getting shot every day.”\u003c/p>\n\u003cp>One of the most popular responses to that tweet was a screenshot image (from \u003cem>Orange Is the New Black\u003c/em>) with a caption \u003ca href=\"https://twitter.com/forrestbIues/status/887543206505627648\" target=\"_blank\" rel=\"noopener\">that asks\u003c/a>, “Do you hear yourself sometimes? Like, when you speak?”\u003c/p>\n\u003cp>And while Paul’s fans urged him not to change, others questioned the underpinnings of his celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This entire thread illustrates the downfall of our society. I’ve never been so glad to be in my 40’s,” \u003ca href=\"https://twitter.com/LeahJen/status/887540719480590336\" target=\"_blank\" rel=\"noopener\">Jen Leah wrote\u003c/a>. \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=YouTube+Star+Jake+Paul%27s+Neighbors+Tell+Him%3A+We%27re+Not+Jake+Paulers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s terrible, it’s a bad situation” — and that’s how the creator of the situation, YouTube star Jake Paul, describes what his neighbors in West Hollywood are going through because of his rowdy lifestyle and made-for-video antics.\u003c/p>\n\u003cp>Residents of the street where Paul rents a large house are meeting with police and city officials to review code requirements — and they could file a class-action lawsuit that seeks to declare Paul a public nuisance, \u003ca href=\"http://ktla.com/2017/07/17/in-west-hollywood-social-media-star-jake-pauls-antics-stir-up-the-neighborhood/\" target=\"_blank\" rel=\"noopener\">local TV station KTLA 5\u003c/a> reports.\u003c/p>\n\u003cp>“I feel bad for them, for sure,” Paul, 20, said of his neighbors when KTLA visited his street. But he added, “There’s nothing we can do, though — the Jake Paulers are the strongest army out there,” using his nickname for his millions of followers.\u003c/p>\n\u003cp>When KTLA’s Chris Wolfe told Paul that some residents said he’s turned the area into a circus, Paul replied, “Yeah, it is. I mean, but people like going to circuses, right?”\u003c/p>\n\u003cp>The situation has generated hubbub in part because of Paul’s popularity — he has more than 8.5 million followers on both YouTube and on Instagram. Working with other social media stars under the title Team 10, his videos often include pranks and antics that center around his home’s pool — from sliding things and people into it to using it as a huge fire pit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is a Team 10 house, and it is lit every single day, bro,” Paul says in one video.\u003c/p>\n\u003cp>His neighbors would like for it not to be lit so often — and not so loudly.\u003c/p>\n\u003cp>“We used to be a really nice, quiet street and now we’re just this, like, war zone,” neighbor Maytal Dahan told KTLA. “We’re families here, and we’re more than happy to have them live here if they’re respectful of their neighbors — but they’re not.”\u003c/p>\n\u003cp>Paul earns millions of dollars from his YouTube channel, according to an estimate from social media tracker \u003ca href=\"https://socialblade.com/youtube/c/jakepaulchannel\">Social Blade\u003c/a>. In addition to being an online celebrity, he is also an actor on \u003cem>Bizaardvark\u003c/em>, a Disney Channel show about … online celebrities.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>After local reports about the dispute on his block began to get attention far beyond California, Paul tweeted, “Lol it’s trending.” He later questioned \u003ca href=\"https://twitter.com/jakepaul/status/887531517685248000\" target=\"_blank\" rel=\"noopener\">why so many people care\u003c/a> about him “being a ‘bad’ neighbor,” particularly at a time when “innocent [people are] getting shot every day.”\u003c/p>\n\u003cp>One of the most popular responses to that tweet was a screenshot image (from \u003cem>Orange Is the New Black\u003c/em>) with a caption \u003ca href=\"https://twitter.com/forrestbIues/status/887543206505627648\" target=\"_blank\" rel=\"noopener\">that asks\u003c/a>, “Do you hear yourself sometimes? Like, when you speak?”\u003c/p>\n\u003cp>And while Paul’s fans urged him not to change, others questioned the underpinnings of his celebrity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This entire thread illustrates the downfall of our society. I’ve never been so glad to be in my 40’s,” \u003ca href=\"https://twitter.com/LeahJen/status/887540719480590336\" target=\"_blank\" rel=\"noopener\">Jen Leah wrote\u003c/a>. \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=YouTube+Star+Jake+Paul%27s+Neighbors+Tell+Him%3A+We%27re+Not+Jake+Paulers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Museum of Modern Art has some 34,000 works in its collection — but you’ll only find a fraction of those up on the wall.\u003c/p>\n\u003cp>“A little under 2,000 of them are on view at any one time in the galleries,” says Keir Winesmith, head of SFMOMA’s Web and digital platforms.\u003c/p>\n\u003cp>So what to do with the rest?\u003c/p>\n\u003cp>SFMOMA is trying a different approach to show off its holdings: Send an emoji or describe a mood via text and the museum \u003ca href=\"https://www.sfmoma.org/read/send-me-sfmoma/\" target=\"_blank\" rel=\"noopener\">will shoot back a picture of one of its artworks.\u003c/a> You can see how it works in the video below:\u003c/p>\n\u003cp>“We’ve now sent 2 million text messages in five days,” Winesmith says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most people search for love or happiness, or send an emoji of flowers, dogs or cats. There are also some more esoteric searches, Winesmith says — the ocean, or food, or music, or the names of favorite places.\u003c/p>\n\u003cp>Texters have started contacting the museum to learn more about the art they received on their phones — that “blows my mind,” Winesmith says. He suspects this diversion may be particularly popular right now because it gives people chance to cleanse their mental palate.\u003c/p>\n\u003cp>“A lot of what I read from the news media is pretty negative, and sometimes a little depressing,” he says. “We’re able to create something that is \u003cem>not\u003c/em> that, is a balance. Not quite an antidote, but certainly a balance to what’s happening out there in the news media world.”\u003c/p>\n\u003cp>So if the news on \u003cem>Morning Edition\u003c/em> has got you down today, text 572-51 with the phrase “send me” and then a word or emoji. SFMOMA will send back an image — and perhaps a moment of zen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>David Blanchard and Graham Smith produced the audio of this story. Beth Novey adapted it for the Web.\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=Tight+On+Wall+Space%2C+SFMOMA+Will+Text+Its+Art+To+You+Instead&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art has some 34,000 works in its collection — but you’ll only find a fraction of those up on the wall.\u003c/p>\n\u003cp>“A little under 2,000 of them are on view at any one time in the galleries,” says Keir Winesmith, head of SFMOMA’s Web and digital platforms.\u003c/p>\n\u003cp>So what to do with the rest?\u003c/p>\n\u003cp>SFMOMA is trying a different approach to show off its holdings: Send an emoji or describe a mood via text and the museum \u003ca href=\"https://www.sfmoma.org/read/send-me-sfmoma/\" target=\"_blank\" rel=\"noopener\">will shoot back a picture of one of its artworks.\u003c/a> You can see how it works in the video below:\u003c/p>\n\u003cp>“We’ve now sent 2 million text messages in five days,” Winesmith says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most people search for love or happiness, or send an emoji of flowers, dogs or cats. There are also some more esoteric searches, Winesmith says — the ocean, or food, or music, or the names of favorite places.\u003c/p>\n\u003cp>Texters have started contacting the museum to learn more about the art they received on their phones — that “blows my mind,” Winesmith says. He suspects this diversion may be particularly popular right now because it gives people chance to cleanse their mental palate.\u003c/p>\n\u003cp>“A lot of what I read from the news media is pretty negative, and sometimes a little depressing,” he says. “We’re able to create something that is \u003cem>not\u003c/em> that, is a balance. Not quite an antidote, but certainly a balance to what’s happening out there in the news media world.”\u003c/p>\n\u003cp>So if the news on \u003cem>Morning Edition\u003c/em> has got you down today, text 572-51 with the phrase “send me” and then a word or emoji. SFMOMA will send back an image — and perhaps a moment of zen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>David Blanchard and Graham Smith produced the audio of this story. Beth Novey adapted it for the Web.\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=Tight+On+Wall+Space%2C+SFMOMA+Will+Text+Its+Art+To+You+Instead&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two of country music’s biggest stars, Kenny Rogers and Dolly Parton, whose onstage chemistry spawned hit duets like “Islands in the Stream” and “Real Love,” will be making their final performance together this year.\u003c/p>\n\u003cp>Rogers, who is retiring from touring, says his final performance with Parton will be part of an all-star farewell show to be held at Nashville’s Bridgestone Arena on Oct. 25. The two have been performing together for more than 30 years since “Islands in the Stream,” written by the Bee Gees, became a pop crossover platinum hit in 1983.\u003c/p>\n\u003cp>Other performers for the farewell show are Little Big Town, Flaming Lips, Idina Menzel, Elle King, Jamey Johnson and Alison Krauss, with more names to be announced. Rogers made the announcement Tuesday at a press conference in Nashville. Tickets for the show will go on sale July 21.\u003c/p>\n\u003cp>Rogers, 78, said it’s been more than a decade since he performed with Parton for a CMT special.\u003c/p>\n\u003cp>“I think we owe it to her to let her go on with her career, but we owe it to me to do it one more time, and we’re going to do that,” Rogers said after the press conference.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In his 60-year career, Rogers has had several successful duet partners, including Dottie West, Kim Carnes, Sheena Easton and Linda Davis, but Parton’s star power made their collaborations a tour de force.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=05TGYk5gTLM\u003c/p>\n\u003cp>“We can go three years without talking to each other and when we get together, it’s like we were together yesterday,” Rogers said. “We both feel that comfort.”\u003c/p>\n\u003cp>“Performing with Kenny for the last time ever on October 25th is going to be emotional for both of us, but it’s also going to be very special,”\u003cbr>\nParton said in a statement. “Even though Kenny may be retiring, as he fades from the stage, our love for each other will never fade away.”\u003c/p>\n\u003cp>The actor, singer and photographer with hits like “The Gambler,” ”Lady” and “Lucille,” announced in 2015 he would do a final farewell tour before retiring to spend more time with his family.\u003c/p>\n\u003cp>Rogers said he and Parton would definitely sing “Islands in the Stream,” but beyond that, he wasn’t sure yet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whether we do something else, I don’t know,” Rogers said. “That would require a rehearsal and I don’t know that Dolly or I, either one, are up for that.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two of country music’s biggest stars, Kenny Rogers and Dolly Parton, whose onstage chemistry spawned hit duets like “Islands in the Stream” and “Real Love,” will be making their final performance together this year.\u003c/p>\n\u003cp>Rogers, who is retiring from touring, says his final performance with Parton will be part of an all-star farewell show to be held at Nashville’s Bridgestone Arena on Oct. 25. The two have been performing together for more than 30 years since “Islands in the Stream,” written by the Bee Gees, became a pop crossover platinum hit in 1983.\u003c/p>\n\u003cp>Other performers for the farewell show are Little Big Town, Flaming Lips, Idina Menzel, Elle King, Jamey Johnson and Alison Krauss, with more names to be announced. Rogers made the announcement Tuesday at a press conference in Nashville. Tickets for the show will go on sale July 21.\u003c/p>\n\u003cp>Rogers, 78, said it’s been more than a decade since he performed with Parton for a CMT special.\u003c/p>\n\u003cp>“I think we owe it to her to let her go on with her career, but we owe it to me to do it one more time, and we’re going to do that,” Rogers said after the press conference.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his 60-year career, Rogers has had several successful duet partners, including Dottie West, Kim Carnes, Sheena Easton and Linda Davis, but Parton’s star power made their collaborations a tour de force.\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/05TGYk5gTLM'\n title='//www.youtube.com/embed/05TGYk5gTLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We can go three years without talking to each other and when we get together, it’s like we were together yesterday,” Rogers said. “We both feel that comfort.”\u003c/p>\n\u003cp>“Performing with Kenny for the last time ever on October 25th is going to be emotional for both of us, but it’s also going to be very special,”\u003cbr>\nParton said in a statement. “Even though Kenny may be retiring, as he fades from the stage, our love for each other will never fade away.”\u003c/p>\n\u003cp>The actor, singer and photographer with hits like “The Gambler,” ”Lady” and “Lucille,” announced in 2015 he would do a final farewell tour before retiring to spend more time with his family.\u003c/p>\n\u003cp>Rogers said he and Parton would definitely sing “Islands in the Stream,” but beyond that, he wasn’t sure yet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Whether we do something else, I don’t know,” Rogers said. “That would require a rehearsal and I don’t know that Dolly or I, either one, are up for that.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Seventeen-year-old Xochitl Morales has been surrounded by music since she was in the womb.\u003c/p>\n\u003cp>“It’s eat, breathe, sleep mariachi,” she says, as she points out trophies and event posters in her family’s music studio.\u003c/p>\n\u003cp>On the California mariachi scene, everybody knows the Morales family of Delano. Xochitl’s dad, Juan Morales, played with mariachi superstars \u003ca href=\"https://www.mariachiloscamperos.com/about\">Los Camperos\u003c/a>; Xochitl and her sister \u003ca href=\"http://www.bakersfield.com/entertainment/music/delano-mariachi-group-to-play-carnegie-hall/article_e80afa39-a0ee-5a7e-b368-2099eb7bbaa8.html\">played at Carnegie Hall earlier this year\u003c/a> with Mariachi Mestizo.\u003c/p>\n\u003cp>She's well versed in just about every instrument in the mariachi, and she even gives violin lessons to kids, like 3-year-old Damian Martinez.\u003c/p>\n\u003cfigure id=\"attachment_11567868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11567868 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Xochitl1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl helping 3-year-old Damian with his finger placement. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To teach him how to hold his instrument, she marks his fingers with a pen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"What do we do with the dots here?” she asks. “Put our fingers right there and then right there,” Damian says, as he wraps his tiny hand around the bow.\u003c/p>\n\u003cp>\"There you go!” Xochitl says. \"Now play 'Miss-iss-ipp-i hot dog.’” He squeaks along to the rhythm of the words.\u003c/p>\n\u003cfigure id=\"attachment_11567865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11567865 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Xochitl2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl teaching 3-year-old Damian how to keep rhythm. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Xochitl is headed into her last year of high school, and during the summer she spends much of her time here in the studio, either teaching or rehearsing with her mariachi group.\u003c/p>\n\u003cp>But while Xochitl’s days are filled with music, she spends her nights writing poetry.\u003c/p>\n\u003cp>Her writing got national attention last year when she starred in a \u003cspan style=\"font-weight: 400\">YouTube video produced by BuzzFeed\u003c/span>\u003cspan style=\"font-weight: 400\">. In the video she stands against a white backdrop, wearing perfectly drawn black eyeliner, braces and a T-shirt that says “poet.\"\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-_RnrH7SQ-s\u003c/p>\n\u003cp>“My first language was Spanish learned from sweet stories told by my papi at bedtime,” she recites. “My tongue, a formation of the stardust of my heritage, an intertwined galaxy of rolled R’s and the Pledge of Allegiance.”\u003c/p>\n\u003cp>The video has over 80,000 views and led to media coverage about Xochitl’s writing.\u003c/p>\n\u003cp>She’d shared the spotlight before, as part of \u003ca href=\"http://www.themariachistudio.com/performance/\">\u003cspan style=\"font-weight: 400\">Mariachi Mestizo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the youth group her dad started. They recorded an album with \u003c/span>\u003ca href=\"http://littlevillagefoundation.com/\">\u003cspan style=\"font-weight: 400\">Little Village Foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- a nonprofit run by musician Jim Pugh. But Pugh was also interested in releasing her poetry.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11567866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567866\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Xochitl3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl and fellow members of Mariachi Mestizo help teach a group of younger musicians. Here she works with 13-year-old Xavier Olea. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first Xochitl was reluctant. She’d started writing poetry early in high school, joined \u003ca href=\"http://getlit.org/\" target=\"_blank\" rel=\"noopener noreferrer\">slam poetry group Get Lit\u003c/a> and was soon getting commissioned to write poems. It got old after a while.\u003c/p>\n\u003cp>“It had just become a very formulaic thing, like, I know what you want to hear so I’m gonna write it,” she says. “It got really boring.”\u003c/p>\n\u003cp>She decided the album would be a chance to write for herself -- and to try something new. As a musician she’d learned that improvisation was a powerful creative force, but as a writer she was a perfectionist, agonizing over every word. With this record, she decided to try writing spontaneously.\u003c/p>\n\u003cp>[contextly_sidebar id=\"1aGXg6pMzK2ZOX1FC3oTrcKwKzunJ7tU\"]\u003c/p>\n\u003cp>\"It was just, like, this explosion of improvisation,” she says. In two days she wrote the 11 poems on \u003ca href=\"http://littlevillagefoundation.com/xochitl-morales/\">\u003cspan style=\"font-weight: 400\">her album, \u003c/span>\u003cspan style=\"font-weight: 400\">\"Descansos.\"\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> She also improvised music for the record with her dad.\u003c/span>\u003c/p>\n\u003cp>Her favorite is the first poem on the album, \"X.16.\" It’s about the place she grew up. “It’s the Central Valley talking to me,” she says, “and kinda like telling me, ‘As much as you don’t want to be here, this is home.’ ”\u003c/p>\n\u003cblockquote>\u003cp>Children of narco refugees and lipstick stains, Chavez boycott babies, cheeks of neighborhood cholos: All of you were made in this valley, in this belly of deadly blossoms, of eyes that saw and left the motherland, born in this body of bloody endings and proud father tears on graduation days. Yes, including you, girl who wishes on my stars for city lights against midnight. You cannot deny that I run through your blood.\u003c/p>\u003c/blockquote>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/315487462\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>Xochitl has come to embrace the Central Valley as part of her artistic identity. She writes a lot about the region’s agriculture industry and its workers. The first poem she ever wrote and performed was about pesticides.\u003c/p>\n\u003cp>“I went to talk about pesticide poisoning to a bunch of urban kids in L.A.,” she says. “They were like, whoa, this happens?”\u003c/p>\n\u003cp>As a kid, she remembers being told she couldn’t go out to recess because nearby fields had been crop-dusted. It’s a theme she returns to on her album.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/315487456\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>“I know what this means for those that have a choice: no walks for a week, windows closed while we sleep. This means sticky nights and no recess for the schools across the street.”\u003c/p>\n\u003cp>For Xochitl, art and activism are intertwined. She says what’s most important about her art is that it have impact. She’s going into her senior year of high school and wants to move to New York City for college -- maybe to study art and politics. She knows that could be risky.\u003c/p>\n\u003cp>“I really want someone to validate that this is what I should be doing,” she says, “because there’s a lot of pressure on second-generation Americans to kind of go into jobs that are guaranteed a stable income.”\u003c/p>\n\u003cp>Even though her parents, Juan and Leticia, have dedicated themselves to music, they’re conflicted about the path Xochitl wants to pursue.\u003c/p>\n\u003cp>“We’ve been there done that,” says Leticia. “When we first married, we lived off the music and it was hard. We want them to have something better than our struggles.”\u003c/p>\n\u003cp>But Xochitl has already started down that road, and her parents helped put her on it.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/315487402\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"450\" iframe=\"true\" /]\u003c/p>\n\u003cp>“I was named after a war goddess: Xochitl, Toltec queen, leading a battalion of women to arms; Xochitl, southern fireball that found breath in sister and mother; Xochitl, a victory laureled in \u003cem>caderas de flores y labios de miel.\u003c/em> They say her legacy runs through blood, and it ran through mine. After all, I came into this world kicking and screaming as loud as the women she fought alongside in battle.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Xochitl is still figuring out who she is as an artist, so the future is uncertain. But she says she won’t put her pen or her instruments down for long.\u003c/p>\n\n",
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"excerpt": "Born to a famous mariachi family, Xochitl Morales is already finding her artistic voice, blending art and activism, inspired by her Central Valley roots.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seventeen-year-old Xochitl Morales has been surrounded by music since she was in the womb.\u003c/p>\n\u003cp>“It’s eat, breathe, sleep mariachi,” she says, as she points out trophies and event posters in her family’s music studio.\u003c/p>\n\u003cp>On the California mariachi scene, everybody knows the Morales family of Delano. Xochitl’s dad, Juan Morales, played with mariachi superstars \u003ca href=\"https://www.mariachiloscamperos.com/about\">Los Camperos\u003c/a>; Xochitl and her sister \u003ca href=\"http://www.bakersfield.com/entertainment/music/delano-mariachi-group-to-play-carnegie-hall/article_e80afa39-a0ee-5a7e-b368-2099eb7bbaa8.html\">played at Carnegie Hall earlier this year\u003c/a> with Mariachi Mestizo.\u003c/p>\n\u003cp>She's well versed in just about every instrument in the mariachi, and she even gives violin lessons to kids, like 3-year-old Damian Martinez.\u003c/p>\n\u003cfigure id=\"attachment_11567868\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11567868 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Xochitl1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl helping 3-year-old Damian with his finger placement. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To teach him how to hold his instrument, she marks his fingers with a pen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"What do we do with the dots here?” she asks. “Put our fingers right there and then right there,” Damian says, as he wraps his tiny hand around the bow.\u003c/p>\n\u003cp>\"There you go!” Xochitl says. \"Now play 'Miss-iss-ipp-i hot dog.’” He squeaks along to the rhythm of the words.\u003c/p>\n\u003cfigure id=\"attachment_11567865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11567865 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Xochitl2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl teaching 3-year-old Damian how to keep rhythm. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Xochitl is headed into her last year of high school, and during the summer she spends much of her time here in the studio, either teaching or rehearsing with her mariachi group.\u003c/p>\n\u003cp>But while Xochitl’s days are filled with music, she spends her nights writing poetry.\u003c/p>\n\u003cp>Her writing got national attention last year when she starred in a \u003cspan style=\"font-weight: 400\">YouTube video produced by BuzzFeed\u003c/span>\u003cspan style=\"font-weight: 400\">. In the video she stands against a white backdrop, wearing perfectly drawn black eyeliner, braces and a T-shirt that says “poet.\"\u003c/span>\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/-_RnrH7SQ-s'\n title='//www.youtube.com/embed/-_RnrH7SQ-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My first language was Spanish learned from sweet stories told by my papi at bedtime,” she recites. “My tongue, a formation of the stardust of my heritage, an intertwined galaxy of rolled R’s and the Pledge of Allegiance.”\u003c/p>\n\u003cp>The video has over 80,000 views and led to media coverage about Xochitl’s writing.\u003c/p>\n\u003cp>She’d shared the spotlight before, as part of \u003ca href=\"http://www.themariachistudio.com/performance/\">\u003cspan style=\"font-weight: 400\">Mariachi Mestizo\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the youth group her dad started. They recorded an album with \u003c/span>\u003ca href=\"http://littlevillagefoundation.com/\">\u003cspan style=\"font-weight: 400\">Little Village Foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- a nonprofit run by musician Jim Pugh. But Pugh was also interested in releasing her poetry.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11567866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11567866\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/07/Xochitl3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/07/Xochitl3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Xochitl and fellow members of Mariachi Mestizo help teach a group of younger musicians. Here she works with 13-year-old Xavier Olea. \u003ccite>(Vanessa Rancano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first Xochitl was reluctant. She’d started writing poetry early in high school, joined \u003ca href=\"http://getlit.org/\" target=\"_blank\" rel=\"noopener noreferrer\">slam poetry group Get Lit\u003c/a> and was soon getting commissioned to write poems. It got old after a while.\u003c/p>\n\u003cp>“It had just become a very formulaic thing, like, I know what you want to hear so I’m gonna write it,” she says. “It got really boring.”\u003c/p>\n\u003cp>She decided the album would be a chance to write for herself -- and to try something new. As a musician she’d learned that improvisation was a powerful creative force, but as a writer she was a perfectionist, agonizing over every word. With this record, she decided to try writing spontaneously.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"It was just, like, this explosion of improvisation,” she says. In two days she wrote the 11 poems on \u003ca href=\"http://littlevillagefoundation.com/xochitl-morales/\">\u003cspan style=\"font-weight: 400\">her album, \u003c/span>\u003cspan style=\"font-weight: 400\">\"Descansos.\"\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> She also improvised music for the record with her dad.\u003c/span>\u003c/p>\n\u003cp>Her favorite is the first poem on the album, \"X.16.\" It’s about the place she grew up. “It’s the Central Valley talking to me,” she says, “and kinda like telling me, ‘As much as you don’t want to be here, this is home.’ ”\u003c/p>\n\u003cblockquote>\u003cp>Children of narco refugees and lipstick stains, Chavez boycott babies, cheeks of neighborhood cholos: All of you were made in this valley, in this belly of deadly blossoms, of eyes that saw and left the motherland, born in this body of bloody endings and proud father tears on graduation days. Yes, including you, girl who wishes on my stars for city lights against midnight. You cannot deny that I run through your blood.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/315487462&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/315487462'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Xochitl has come to embrace the Central Valley as part of her artistic identity. She writes a lot about the region’s agriculture industry and its workers. The first poem she ever wrote and performed was about pesticides.\u003c/p>\n\u003cp>“I went to talk about pesticide poisoning to a bunch of urban kids in L.A.,” she says. “They were like, whoa, this happens?”\u003c/p>\n\u003cp>As a kid, she remembers being told she couldn’t go out to recess because nearby fields had been crop-dusted. It’s a theme she returns to on her album.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/315487456&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/315487456'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I know what this means for those that have a choice: no walks for a week, windows closed while we sleep. This means sticky nights and no recess for the schools across the street.”\u003c/p>\n\u003cp>For Xochitl, art and activism are intertwined. She says what’s most important about her art is that it have impact. She’s going into her senior year of high school and wants to move to New York City for college -- maybe to study art and politics. She knows that could be risky.\u003c/p>\n\u003cp>“I really want someone to validate that this is what I should be doing,” she says, “because there’s a lot of pressure on second-generation Americans to kind of go into jobs that are guaranteed a stable income.”\u003c/p>\n\u003cp>Even though her parents, Juan and Leticia, have dedicated themselves to music, they’re conflicted about the path Xochitl wants to pursue.\u003c/p>\n\u003cp>“We’ve been there done that,” says Leticia. “When we first married, we lived off the music and it was hard. We want them to have something better than our struggles.”\u003c/p>\n\u003cp>But Xochitl has already started down that road, and her parents helped put her on it.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='450'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/315487402&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/315487402'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I was named after a war goddess: Xochitl, Toltec queen, leading a battalion of women to arms; Xochitl, southern fireball that found breath in sister and mother; Xochitl, a victory laureled in \u003cem>caderas de flores y labios de miel.\u003c/em> They say her legacy runs through blood, and it ran through mine. After all, I came into this world kicking and screaming as loud as the women she fought alongside in battle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Ebony\u003c/em> magazine has been the magazine of black America since it was first published in November 1945. Its stories of success and achievement were a welcome antidote to how its readers normally saw themselves portrayed in mainstream newspapers and magazines. (If they were featured at all, it was usually for something that reinforced the mainstream stereotype of who and what black Americans were.) \u003cem>\u003c/em>Until a decade ago\u003cem>, \u003c/em>\u003cem>Ebony\u003c/em> regularly sold out on newsstands and had a large and loyal subscriber base.\u003c/p>\n\u003cp>So when Los Angeles writer Liz Dwyer was asked to write three articles for the February 2017 issue, which looked at how African-Americans might fare under new President Donald Trump, she was thrilled to say yes.\u003c/p>\n\u003cp>“\u003cem>Ebony\u003c/em> is one of those historical publications that you grew up seeing on your grandma’s coffee table or your parents’ coffee table,” Dwyer says. “For me, growing up, it was one of the only places that I regularly saw myself or my parents reflected in it. Where I saw women who looked like my mom. Where I saw hair care products that worked in my hair.”\u003c/p>\n\u003cp>She wrote the articles in the fall of 2016 and assumed she would be paid upon publication. February came and went, and Dwyer saw no check. She wasn’t the only one. Several other writers, photographers, illustrators and editors were also waiting to be paid.\u003c/p>\n\u003cp>There were indications of financial trouble earlier. Facing an aging, dwindling subscriber base and overall shrinkage of the publishing industry, \u003cem>Ebony\u003c/em>‘s parent company, Johnson Publishing Inc., sold its showcase corporate headquarters in the Chicago Loop in 2010. The flagship magazine went up for sale last year. Michael Gibson and Willard Jackson, African-American private equity owners of Clear View Group, bought the magazine and its sister publication, \u003cem>Jet,\u003c/em> with plans to revive and expand a treasured cultural legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Apparently those plans didn’t include paying \u003cem>Ebony\u003c/em>‘s writers in a timely manner. When asked, the writers were given a statement that said, “[As] part of our strategic growth plan, EBONY Media is working diligently to streamline and improve efficiencies throughout our operations and we will honor our commitment to our partners.”\u003c/p>\n\u003cp>For many of \u003cem>Ebony\u003c/em>‘s writers, its place in publishing history is important. Adrienne Samuels Gibbs left the \u003cem>Boston Globe\u003c/em> to return to her hometown to work for \u003cem>Ebony\u003c/em>. She was a senior staff writer and later left to freelance. She oversaw three special issues, including the commemorative issue that looked at Barack Obama’s presidency. When she heard several of the writers she had commissioned for the work were going unpaid, she tried to rectify it.\u003c/p>\n\u003cp>“Lots of us reached out to CVG to request payment. We started with accounts payable at \u003cem>Ebony,\u003c/em> and then when we got no response after weeks and weeks, we reached out to the two owners of Clear View Group, and also to Linda Johnson Rice, whose family has owned \u003cem>Ebony\u003c/em> since the beginning,” Gibbs said.\u003c/p>\n\u003cp>The response? Nada.\u003c/p>\n\u003cp>(Which is consistent with NPR’s experience: Calls to Clear View Group’s owners, via Facebook and Twitter, for comment went unacknowledged.)\u003c/p>\n\u003cp>What Gibbs \u003cem>did\u003c/em> get was an irritated tweet from CVG co-owner Jackson, accusing her of doing a takedown job on a beloved black publication.\u003c/p>\n\u003cp>“We love \u003cem>Ebony\u003c/em>,” Gibbs insists. “No one is trying to tear down a black institution that means the world to black Americans and the larger citizenship of the diaspora. But you still have to pay what you owe.”\u003c/p>\n\u003cp>Soon after, several writers began a social media campaign, #EbonyOwes, to try to leverage payment. CVG’s owners blocked their accounts to some, but #EbonyOwes picked up steam anyway.\u003c/p>\n\u003cp>Then more than two dozen writers asked the National Writers Union for help. Union President Larry Goldbetter said unfortunately, nonpayment of writers isn’t just an \u003cem>Ebony\u003c/em> problem. “Nonpayment to freelancers is so common — it’s a plague, an epidemic,” he says.\u003c/p>\n\u003cp>The #EbonyOwes writers weren’t so different in that respect, but they were in another way: “What’s unique here is the 30 writers at \u003cem>Ebony\u003c/em> have stood together,” Goldbetter says, “and that has made a difference.”\u003c/p>\n\u003cp>It’s also attracted some attention “from other writers from other publications,” the union president says. “And we are getting more names, and we intend to have a few more campaigns going in the future.”\u003c/p>\n\u003cp>This month, some writers began to receive partial payment for their published work. Three people, including Dwyer, were finally paid in full. Dwyer says even though she has been paid, she will continue to work to see that her colleagues are, too.\u003c/p>\n\u003cp>“What is really tough about it is knowing that there are so many freelancers that are in this position where they are really counting on this money to pay their bills. But even if all they wanted to do was set that money on fire, they did that work, and it’s owed to them,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last week, the National Writers Union announced plans to sue \u003cem>Ebony\u003c/em> and CVG to recover the full amount owed to \u003cem>Ebony\u003c/em> contributors who have not yet been made whole. \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=%23EbonyOwes%3A+99+Problems+And+Money+Is+One&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ebony\u003c/em> magazine has been the magazine of black America since it was first published in November 1945. Its stories of success and achievement were a welcome antidote to how its readers normally saw themselves portrayed in mainstream newspapers and magazines. (If they were featured at all, it was usually for something that reinforced the mainstream stereotype of who and what black Americans were.) \u003cem>\u003c/em>Until a decade ago\u003cem>, \u003c/em>\u003cem>Ebony\u003c/em> regularly sold out on newsstands and had a large and loyal subscriber base.\u003c/p>\n\u003cp>So when Los Angeles writer Liz Dwyer was asked to write three articles for the February 2017 issue, which looked at how African-Americans might fare under new President Donald Trump, she was thrilled to say yes.\u003c/p>\n\u003cp>“\u003cem>Ebony\u003c/em> is one of those historical publications that you grew up seeing on your grandma’s coffee table or your parents’ coffee table,” Dwyer says. “For me, growing up, it was one of the only places that I regularly saw myself or my parents reflected in it. Where I saw women who looked like my mom. Where I saw hair care products that worked in my hair.”\u003c/p>\n\u003cp>She wrote the articles in the fall of 2016 and assumed she would be paid upon publication. February came and went, and Dwyer saw no check. She wasn’t the only one. Several other writers, photographers, illustrators and editors were also waiting to be paid.\u003c/p>\n\u003cp>There were indications of financial trouble earlier. Facing an aging, dwindling subscriber base and overall shrinkage of the publishing industry, \u003cem>Ebony\u003c/em>‘s parent company, Johnson Publishing Inc., sold its showcase corporate headquarters in the Chicago Loop in 2010. The flagship magazine went up for sale last year. Michael Gibson and Willard Jackson, African-American private equity owners of Clear View Group, bought the magazine and its sister publication, \u003cem>Jet,\u003c/em> with plans to revive and expand a treasured cultural legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Apparently those plans didn’t include paying \u003cem>Ebony\u003c/em>‘s writers in a timely manner. When asked, the writers were given a statement that said, “[As] part of our strategic growth plan, EBONY Media is working diligently to streamline and improve efficiencies throughout our operations and we will honor our commitment to our partners.”\u003c/p>\n\u003cp>For many of \u003cem>Ebony\u003c/em>‘s writers, its place in publishing history is important. Adrienne Samuels Gibbs left the \u003cem>Boston Globe\u003c/em> to return to her hometown to work for \u003cem>Ebony\u003c/em>. She was a senior staff writer and later left to freelance. She oversaw three special issues, including the commemorative issue that looked at Barack Obama’s presidency. When she heard several of the writers she had commissioned for the work were going unpaid, she tried to rectify it.\u003c/p>\n\u003cp>“Lots of us reached out to CVG to request payment. We started with accounts payable at \u003cem>Ebony,\u003c/em> and then when we got no response after weeks and weeks, we reached out to the two owners of Clear View Group, and also to Linda Johnson Rice, whose family has owned \u003cem>Ebony\u003c/em> since the beginning,” Gibbs said.\u003c/p>\n\u003cp>The response? Nada.\u003c/p>\n\u003cp>(Which is consistent with NPR’s experience: Calls to Clear View Group’s owners, via Facebook and Twitter, for comment went unacknowledged.)\u003c/p>\n\u003cp>What Gibbs \u003cem>did\u003c/em> get was an irritated tweet from CVG co-owner Jackson, accusing her of doing a takedown job on a beloved black publication.\u003c/p>\n\u003cp>“We love \u003cem>Ebony\u003c/em>,” Gibbs insists. “No one is trying to tear down a black institution that means the world to black Americans and the larger citizenship of the diaspora. But you still have to pay what you owe.”\u003c/p>\n\u003cp>Soon after, several writers began a social media campaign, #EbonyOwes, to try to leverage payment. CVG’s owners blocked their accounts to some, but #EbonyOwes picked up steam anyway.\u003c/p>\n\u003cp>Then more than two dozen writers asked the National Writers Union for help. Union President Larry Goldbetter said unfortunately, nonpayment of writers isn’t just an \u003cem>Ebony\u003c/em> problem. “Nonpayment to freelancers is so common — it’s a plague, an epidemic,” he says.\u003c/p>\n\u003cp>The #EbonyOwes writers weren’t so different in that respect, but they were in another way: “What’s unique here is the 30 writers at \u003cem>Ebony\u003c/em> have stood together,” Goldbetter says, “and that has made a difference.”\u003c/p>\n\u003cp>It’s also attracted some attention “from other writers from other publications,” the union president says. “And we are getting more names, and we intend to have a few more campaigns going in the future.”\u003c/p>\n\u003cp>This month, some writers began to receive partial payment for their published work. Three people, including Dwyer, were finally paid in full. Dwyer says even though she has been paid, she will continue to work to see that her colleagues are, too.\u003c/p>\n\u003cp>“What is really tough about it is knowing that there are so many freelancers that are in this position where they are really counting on this money to pay their bills. But even if all they wanted to do was set that money on fire, they did that work, and it’s owed to them,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last week, the National Writers Union announced plans to sue \u003cem>Ebony\u003c/em> and CVG to recover the full amount owed to \u003cem>Ebony\u003c/em> contributors who have not yet been made whole. \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=%23EbonyOwes%3A+99+Problems+And+Money+Is+One&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Peter “Principle” Dachert, longtime bassist and songwriter for experimental post-punk band Tuxedomoon, was found dead Monday morning of natural causes, according to his bandmates. He was 63.\u003c/p>\n\u003cp>[contextly_sidebar id=”awaZNNxs5yf8FaFlUwLgShwO0WGQOsAy”]\u003c/p>\n\u003cp>“It is my very sad duty to inform the world that our colleague and brother, Peter Principle has left this world behind,” Tuxedomoon founder Blaine L. Reininger wrote on his Facebook page. “We are all stunned.”\u003c/p>\n\u003cp>Reininger and Steven Brown started Tuxedomoon in San Francisco back in the mid 1970s. New York City transplant Dachert (using the stage name \u003ca href=\"https://en.wikipedia.org/wiki/Peter_principle\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Principle\u003c/a>), performance artist Winston Tong and filmmaker Bruce Geduldig joined a little later when the group began playing live. The band would go on to be an important influence on the underground music scene, bucking musical trends to create a sound all their own. As rock critic \u003ca href=\"http://dangerousminds.net/comments/no_tears_tuxedomoons_peter_principle_dead_at_63\" target=\"_blank\" rel=\"noopener\">Richard Metzger writes\u003c/a>, Tuxedomoon did “something truly dangerous, pioneering “new wave” and post-punk before either term existed.”\u003c/p>\n\u003cp>Dachert played with the group throughout the ’80s and after the band reunited in the 2000s, following an eight-year hiatus. He played bass and guitar on all of the band’s releases, including its 11 studio albums, and co-wrote a majority of Tuxedomoon’s songs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A New York resident, at the time of his death Dachert was staying in Brussels, where Tuxedomoon writing new music, according to the \u003ca href=\"https://tuxedomoonews.blogspot.com/2017/07/peter-principle-dead-at-63.html\" target=\"_blank\" rel=\"noopener\">band’s blog\u003c/a>.\u003c/p>\n\u003cp>Tuxedomoon was to play \u003ca href=\"http://tuxedomoon.co/tuxedomoon_live_dates.htm\" target=\"_blank\" rel=\"noopener noreferrer\">several dates in Europe\u003c/a>, starting on Jul. 28 with a show in Italy. It was unclear Monday whether the band would still be able to play those dates. \u003cb>UPDATE:\u003c/b> Tuxedomoon has canceled the European tour.\u003c/p>\n\u003cp>Dachert’s death comes a little more than one year after fellow band member Bruce \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/tuxedomoons-bruce-geduldig-dies-at-the-age-of-63/\" target=\"_blank\" rel=\"noopener noreferrer\">Geduldig died\u003c/a> on his 63rd birthday.\u003c/p>\n\u003cp>\u003ci>See Dachert play bass with Tuxedomoon on this clip from the movie \u003cb>Downtown 81\u003c/b>:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fRZAwy9evCE\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peter “Principle” Dachert, longtime bassist and songwriter for experimental post-punk band Tuxedomoon, was found dead Monday morning of natural causes, according to his bandmates. He was 63.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It is my very sad duty to inform the world that our colleague and brother, Peter Principle has left this world behind,” Tuxedomoon founder Blaine L. Reininger wrote on his Facebook page. “We are all stunned.”\u003c/p>\n\u003cp>Reininger and Steven Brown started Tuxedomoon in San Francisco back in the mid 1970s. New York City transplant Dachert (using the stage name \u003ca href=\"https://en.wikipedia.org/wiki/Peter_principle\" target=\"_blank\" rel=\"noopener noreferrer\">Peter Principle\u003c/a>), performance artist Winston Tong and filmmaker Bruce Geduldig joined a little later when the group began playing live. The band would go on to be an important influence on the underground music scene, bucking musical trends to create a sound all their own. As rock critic \u003ca href=\"http://dangerousminds.net/comments/no_tears_tuxedomoons_peter_principle_dead_at_63\" target=\"_blank\" rel=\"noopener\">Richard Metzger writes\u003c/a>, Tuxedomoon did “something truly dangerous, pioneering “new wave” and post-punk before either term existed.”\u003c/p>\n\u003cp>Dachert played with the group throughout the ’80s and after the band reunited in the 2000s, following an eight-year hiatus. He played bass and guitar on all of the band’s releases, including its 11 studio albums, and co-wrote a majority of Tuxedomoon’s songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A New York resident, at the time of his death Dachert was staying in Brussels, where Tuxedomoon writing new music, according to the \u003ca href=\"https://tuxedomoonews.blogspot.com/2017/07/peter-principle-dead-at-63.html\" target=\"_blank\" rel=\"noopener\">band’s blog\u003c/a>.\u003c/p>\n\u003cp>Tuxedomoon was to play \u003ca href=\"http://tuxedomoon.co/tuxedomoon_live_dates.htm\" target=\"_blank\" rel=\"noopener noreferrer\">several dates in Europe\u003c/a>, starting on Jul. 28 with a show in Italy. It was unclear Monday whether the band would still be able to play those dates. \u003cb>UPDATE:\u003c/b> Tuxedomoon has canceled the European tour.\u003c/p>\n\u003cp>Dachert’s death comes a little more than one year after fellow band member Bruce \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/tuxedomoons-bruce-geduldig-dies-at-the-age-of-63/\" target=\"_blank\" rel=\"noopener noreferrer\">Geduldig died\u003c/a> on his 63rd birthday.\u003c/p>\n\u003cp>\u003ci>See Dachert play bass with Tuxedomoon on this clip from the movie \u003cb>Downtown 81\u003c/b>:\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/fRZAwy9evCE'\n title='//www.youtube.com/embed/fRZAwy9evCE'\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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"content": "\u003cp>Not everyone wore flowers in their hair during the Summer of Love. Some got their kicks from laughing and pouring scorn from the sidelines, like William F. Buckley, Jr., one of the most iconic conservatives of the era.\u003c/p>\n\u003cp>With his arch wit and possibly affected transatlantic accent, Buckley by turns charmed and offended liberal America on his television show, \u003ci>Firing Line\u003c/i>.\u003c/p>\n\u003cp>You can see for yourself on \u003ca href=\"https://www.youtube.com/channel/UC9lqW3pQDcUuugXLIpzcUdA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, because Buckley left roughly 30 years worth of episodes to the \u003ca href=\"http://www.hoover.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hoover Institution\u003c/a> at Stanford, the conservative research center and think tank.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BYgv7ur8ipg\u003c/p>\n\u003cp>In one of the more bizarre panel discussions ever held on television, Buckley broke down the hippie phenomenon. “The topic tonight is hippies, and understanding of whom we must acquire or die painfully,” Buckley says, before suffering through an awkward hour featuring an obviously intoxicated Jack Kerouac (who wasn’t, technically speaking, a hippie. He was a beat.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much more elucidating is Buckley’s hour with Timothy Leary, a psychologist famous for popularizing psychedelic drugs. He’s the guy who coined the phrase “Tune in, turn on, drop out.”\u003c/p>\n\u003cp>The conversation, as you can imagine, focused mostly on drug culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BnoCHlybAnU\u003c/p>\n\u003cp>“I’m trying to see what your problem is, and I think I’ve diagnosed it,” Leary says in one engaging exchange.\u003c/p>\n\u003cp>“Go ahead, doc,” Buckley replies, as the audience laughs.\u003c/p>\n\u003cp>“Your approach to the word ‘drugs’ is that of, I think, many Americans over the age of 50: when the word ‘drug’ is mentioned, think of an opiate, something that is an escape, something that takes you away from reality, something you take if you’re a failure,” Leary continues. “All the statistics that I’ve seen show that the people who use drugs are pretty well adjusted by any standard or criterion you want to name: income, education, creativity, productivity.”\u003c/p>\n\u003cp>Buckley probably thought Leary was almost willfully naive, ignoring the fact that LSD landed some people in mental hospitals. “You can go to Bellevue tonight, as you know, and find people who took a trip, and the consequences of that we will not know for years, perhaps,” Buckley says.\u003c/p>\n\u003cfigure id=\"attachment_13653320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13653320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png\" alt='William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, \"The World of LSD\")' width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1180x901.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-960x733.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-240x183.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-375x286.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-520x397.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM.png 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, “The World of LSD”) \u003ccite>(Photo: Courtesy of the Hoover Institution Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Firing Line\u003c/em> started broadcasting in 1966. Today, it provides a compelling showcase for how various political and cultural ideas have held up over time — or not.\u003c/p>\n\u003cp>According to right-wing columnist George Will, the show also stands in stark contrast to the tenor of conservative conversation today. “It is the screechy and dominant tone of the loutish faux conservatism that today is erasing Buckley’s legacy of infectious cheerfulness and unapologetic embrace of high culture,” Will recently wrote in the \u003ca href=\"https://www.washingtonpost.com/opinions/conservatism-is-soiled-by-scowling-primitives/2017/05/31/786317a8-4559-11e7-a196-a1bb629f64cb_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>But if Buckley represents a more civilized, shall we say, expression of conservative politics, the test of time does not prove kind to the meat of many of his arguments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pfGhxKxzYdM\u003c/p>\n\u003cp>In 1967, shortly after Ronald Reagan became governor of California, Buckley introducing him as a guest on \u003ci>Firing Line \u003c/i>during the Summer of Love, gushing at the electoral victory.\u003c/p>\n\u003cp>“Perhaps the only mutiny against the political script writers in recent times, it having been ordained that no forthright conservative could be elective to any important executive office, particularly not in the largest and reputedly the most progressive states in the union,” Buckley says, with his characteristically droll attitude.\u003c/p>\n\u003cp>Half a century later, California is still one of the largest and reputedly progressive states in the nation…effectively thumbing its nose at Buckley’s self-assured prescriptions for American politics and culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not everyone wore flowers in their hair during the Summer of Love. Some got their kicks from laughing and pouring scorn from the sidelines, like William F. Buckley, Jr., one of the most iconic conservatives of the era.\u003c/p>\n\u003cp>With his arch wit and possibly affected transatlantic accent, Buckley by turns charmed and offended liberal America on his television show, \u003ci>Firing Line\u003c/i>.\u003c/p>\n\u003cp>You can see for yourself on \u003ca href=\"https://www.youtube.com/channel/UC9lqW3pQDcUuugXLIpzcUdA\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>, because Buckley left roughly 30 years worth of episodes to the \u003ca href=\"http://www.hoover.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Hoover Institution\u003c/a> at Stanford, the conservative research center and think tank.\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/BYgv7ur8ipg'\n title='//www.youtube.com/embed/BYgv7ur8ipg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the more bizarre panel discussions ever held on television, Buckley broke down the hippie phenomenon. “The topic tonight is hippies, and understanding of whom we must acquire or die painfully,” Buckley says, before suffering through an awkward hour featuring an obviously intoxicated Jack Kerouac (who wasn’t, technically speaking, a hippie. He was a beat.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much more elucidating is Buckley’s hour with Timothy Leary, a psychologist famous for popularizing psychedelic drugs. He’s the guy who coined the phrase “Tune in, turn on, drop out.”\u003c/p>\n\u003cp>The conversation, as you can imagine, focused mostly on drug culture.\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/BnoCHlybAnU'\n title='//www.youtube.com/embed/BnoCHlybAnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m trying to see what your problem is, and I think I’ve diagnosed it,” Leary says in one engaging exchange.\u003c/p>\n\u003cp>“Go ahead, doc,” Buckley replies, as the audience laughs.\u003c/p>\n\u003cp>“Your approach to the word ‘drugs’ is that of, I think, many Americans over the age of 50: when the word ‘drug’ is mentioned, think of an opiate, something that is an escape, something that takes you away from reality, something you take if you’re a failure,” Leary continues. “All the statistics that I’ve seen show that the people who use drugs are pretty well adjusted by any standard or criterion you want to name: income, education, creativity, productivity.”\u003c/p>\n\u003cp>Buckley probably thought Leary was almost willfully naive, ignoring the fact that LSD landed some people in mental hospitals. “You can go to Bellevue tonight, as you know, and find people who took a trip, and the consequences of that we will not know for years, perhaps,” Buckley says.\u003c/p>\n\u003cfigure id=\"attachment_13653320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13653320\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png\" alt='William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, \"The World of LSD\")' width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-1180x901.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-960x733.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-240x183.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-375x286.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM-520x397.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Screen-Shot-2017-07-07-at-1.47.21-PM.png 1363w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William F. Buckley, Jr. and Dr. Timothy Leary debate in front of a live audience on Firing Line. (Episode 53, “The World of LSD”) \u003ccite>(Photo: Courtesy of the Hoover Institution Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Firing Line\u003c/em> started broadcasting in 1966. Today, it provides a compelling showcase for how various political and cultural ideas have held up over time — or not.\u003c/p>\n\u003cp>According to right-wing columnist George Will, the show also stands in stark contrast to the tenor of conservative conversation today. “It is the screechy and dominant tone of the loutish faux conservatism that today is erasing Buckley’s legacy of infectious cheerfulness and unapologetic embrace of high culture,” Will recently wrote in the \u003ca href=\"https://www.washingtonpost.com/opinions/conservatism-is-soiled-by-scowling-primitives/2017/05/31/786317a8-4559-11e7-a196-a1bb629f64cb_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Washington Post\u003c/a>.\u003c/p>\n\u003cp>But if Buckley represents a more civilized, shall we say, expression of conservative politics, the test of time does not prove kind to the meat of many of his arguments.\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/pfGhxKxzYdM'\n title='//www.youtube.com/embed/pfGhxKxzYdM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1967, shortly after Ronald Reagan became governor of California, Buckley introducing him as a guest on \u003ci>Firing Line \u003c/i>during the Summer of Love, gushing at the electoral victory.\u003c/p>\n\u003cp>“Perhaps the only mutiny against the political script writers in recent times, it having been ordained that no forthright conservative could be elective to any important executive office, particularly not in the largest and reputedly the most progressive states in the union,” Buckley says, with his characteristically droll attitude.\u003c/p>\n\u003cp>Half a century later, California is still one of the largest and reputedly progressive states in the nation…effectively thumbing its nose at Buckley’s self-assured prescriptions for American politics and culture.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Academy Award-Winning Actor Martin Landau, Known for 'Mission: Impossible' Dies At 89",
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"content": "\u003cp>Academy Award-Winning Actor Martin Landau, known for his leading roles in \u003cem>North By Northwest\u003c/em> and the 1960s \u003cem>Mission: Impossible\u003c/em> TV series, has died. He was 89.\u003c/p>\n\u003cp>He died on Saturday of “unexpected complications” at the UCLA Medical Center, his publicist confirmed.\u003c/p>\n\u003cp>In his seven-decade acting career, Landau worked with a cast of Hollywood director greats, including Alfred Hitchcock, Francis Ford Coppola, Woody Allen and Tim Burton.\u003c/p>\n\u003cp>Francis Ford Coppola’s 1988 film \u003cem>Tucker: The Man and His Dream \u003c/em>won Landau a Golden Globe Award as well as an Oscar nomination for Best Supporting Actor. The following year, he was nominated for the same Oscar category for portraying philandering ophthalmologist Judah Rosenthal in Woody Allen’s \u003cem>Crimes And Misdemeanors \u003c/em>(1989).\u003c/p>\n\u003cp>It was his role as the haunting Bela Lugosi in Tim Burton’s biopic, \u003cem>Ed Wood\u003c/em>, that finally scored him the Oscar for Best Supporting Actor in 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But he was probably best known for his three-season run as spy agent Rollin Hand in TV’s \u003cem>Mission: Impossible\u003c/em>, from 1966-1969.\u003c/p>\n\u003cp>Hand’s character, billed as “The World’s Greatest Impersonator,” also pinned Landau as a master of disguise in the eyes of casting directors, who saw him suited to play a variety of roles, notes the \u003ca href=\"https://www.nytimes.com/2017/07/16/movies/martin-landau-actor-academy-award-dies-89.html\">The New York Times\u003c/a>.\u003c/p>\n\u003cp>Landau also notably turned down the role of science officer, Mr. Spock, leading \u003cem>Star Trek\u003c/em> creator Gene Rodenberry to cast his second choice, Leonard Nimoy.\u003c/p>\n\u003cp>At age 17, the Brooklyn-born actor got his first job as a newspaper cartoonist at the \u003cem>New York Daily News\u003c/em>. As he told \u003cem>Talk Of The Nation\u003c/em> Host Neal Conan\u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=129606331\"> in 2010\u003c/a>, he quit the \u003cem>News\u003c/em> five years later to give acting a shot.\u003c/p>\n\u003cp>“I was being groomed to be the theatrical caricaturist. And I know if I got that job, I’d never quit. So I quit,” Landau said. “I knew I wanted to go into the theater… I wanted to act.”\u003c/p>\n\u003cp>In the same interview, the alumnus of the prestigious Actors Studio told an NPR listener that he had never had much trouble learning lines because “I think of them as thoughts and ideas” that the character wants to express.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Told by Conan that he lights up the screen with his wonderful smile, “Oh, that’s so nice to hear. I mean, I always thought it looked like a piano.” \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=Academy+Award-Winning+Actor+Martin+Landau%2C+Known+For+%27Mission%3A+Impossible%27+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Landau, known for film roles in 'North By Northwest' and 'Ed Wood,' died Saturday. His portrayal of Rollin Hand in the 1960s TV show \u003cem>Mission: Impossible \u003c/em>showed his gift for playing a variety of roles.",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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