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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bond certainly wasn’t Moore’s first role as a man of action. He got practice in making secret break-ins and daring escapes over seven seasons on the 1960s British TV series \u003cem>The Saint\u003c/em>. He played Simon Templar, a criminal mastermind who steals from the evil and the corrupt.\u003c/p>\n\u003cp>Roger Moore was born on Oct. 14, 1927, in London and raised by two working-class parents, to whom he was very close. He was an only child — he would joke that his parents attained perfection on their first try. Throughout his long life, Moore appeared to lead a charmed existence — he even titled a memoir \u003cem>One Lucky Bastard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13290815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg\" alt=\"A photograph of Roger Moore is seen at the "Heroes & Villains" book launch party and exhibition preview for photojournalist David Steen's book and show, back in 2005. \" width=\"800\" height=\"663\" class=\"size-medium wp-image-13290815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1180x978.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-960x796.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-375x311.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-520x431.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Roger Moore is seen at the “Heroes & Villains” book launch party and exhibition preview for photojournalist David Steen’s book and show, back in 2005. \u003ccite>(Photo: Chris Jackson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was married four times and lived abroad for decades as a tax exile. He met just about everyone — from Frank Sinatra to crowned heads across Europe. He partied with Richard Burton, Peter O’Toole, Richard Harris and Peter Finch. He was knighted in 2003 for his humanitarian work with UNICEF.\u003c/p>\n\u003cp>In an early and never-filmed movie script, Moore read a line that stayed with him the rest of his life. “My attitude about death is, going into the next room, and it’s a room the rest of us can’t go into because we don’t have the key, but when we do get the key, we’ll go in there and we’ll see one another again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Roger Moore is survived by his wife, Kristina Tholstrup, and three children. He died Tuesday in Switzerland, according to his children. \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=He+Called+Himself+%27One+Lucky+Bastard%27%3A+Sir+Roger+Moore+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Police Confirm 22 People Dead After Explosion At Manchester Arena [UPDATED]",
"headTitle": "Police Confirm 22 People Dead After Explosion At Manchester Arena [UPDATED] | KQED",
"content": "\u003cp>\u003cb>Updated May 23, 2017, at 1pm:\u003c/b>\u003c/p>\n\u003cp>The Manchester Arena was packed on Monday night with pop fans eager to hear Ariana Grande perform. Her songs are bubblegum pop, so picture the crowd: kids and their parents, teenagers with their friends, fans looking for a cheerful night out.\u003c/p>\n\u003cp>At the end of the concert, an explosion struck near the arena. The blast killed at least 22 people and injured more than 50.\u003c/p>\n\u003cp>Young women — including very young girls — are Grande’s core fan base. And authorities confirmed that children were among the dead, which was quickly apparent as friends, family and schools began reporting the names of some of those victims.\u003c/p>\n\u003cp>The first to be named was an 18-year-old woman. The second, an 8-year-old girl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saffie Rose Roussos, the 8-year-old, was attending the concert with her mother and sister, \u003cem>The Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/23/parents-in-desperate-search-for-missing-children-after-manchester-attack\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>Saffie was initially identified as missing after the attack. Her photo was circulated online by friends of the family who knew that Saffie’s mother and sister had been hospitalized, but couldn’t find Saffie, according to Metro.\u003c/p>\n\u003cp>Now her death has been confirmed by the headmaster of her school, Chris Upton, who told the Guardian Saffie was “simply a beautiful little girl in every aspect of the word. She was loved by everyone and her warmth and kindness will be remembered fondly.”\u003c/p>\n\u003cp>An 18-year-old college student, Georgina Callander, was also named as a victim.\u003c/p>\n\u003cp>Callander was studying health and social care at Runshaw College, which \u003ca href=\"https://www.facebook.com/153080444733762/posts/1566034293438363\" target=\"_blank\" rel=\"noopener\">confirmed her death on Facebook\u003c/a>.\u003c/p>\n\u003cp>Callander had a buoyant social media presence, celebrating the singers, actors and shows that she followed passionately, and rejoicing over school achievements like finishing a long paper.\u003c/p>\n\u003cp>She often sought photos with celebrities — in fact, took a picture with Ariana Grande two years ago. Her caption read in part, “I HUGGED HER SO TIGHT AND SHE SAID SHE LOVED MY BOW.”\u003c/p>\n\u003cp>On Sunday, she tweeted at Grande, “SO EXCITED TO SEE YOU TOMORROW.”\u003c/p>\n\u003cp>A third victim has been identified as John Atkinson, according to the Manchester Evening News. His age has been reported as 26 and 28.\u003c/p>\n\u003cp>Friends called him “a beautiful soul” and “an amazing young man,” the newspaper reports.\u003c/p>\n\u003cp>Many of the people injured in the attack were still receiving treatment at area hospitals.\u003c/p>\n\u003cp>A dozen children were among those who were hospitalized, a director of an ambulance service tells The Guardian.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>Police in Manchester, England, confirm 19 people dead at Manchester Arena following an apparent explosion after a concert by Ariana Grande. About 50 people have been injured.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/gmpolice\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> says police will treat the incident as a terrorist attack until they know otherwise.\u003c/p>\n\u003cp>Authorities also say they conducted a “\u003ca href=\"https://twitter.com/gmpolice/status/866816910612103169\" target=\"_blank\" rel=\"noopener\">precautionary controlled explosion,\u003c/a>” and the thing they had been concerned about turned out to be abandoned clothing and not a suspicious item.\u003c/p>\n\u003cp>The management of the Manchester Arena issued \u003ca href=\"https://twitter.com/ManchesterArena/status/866808098798927873/photo/1\">a statement\u003c/a>, saying the incident happened outside the facility.\u003c/p>\n\u003cfigure id=\"attachment_13286091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg\" alt=\"Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/uk-england-manchester-40007886\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> witnesses heard an explosion, which was followed by a chaotic scene with audience members running for the exits.\u003c/p>\n\u003cp>\u003ca href=\"http://www.reuters.com/article/us-britain-security-manchester-idUSKBN18I2OP?il=0\" target=\"_blank\" rel=\"noopener\">Reuters\u003c/a> reports that emergency services are responding to the reports of “a serious incident.” Greater Manchester Police are advising people to “avoid the area.”\u003c/p>\n\u003cp>A spokesman for the pop singer said that she was “okay,” according to Reuters.\\\u003c/p>\n\u003cfigure id=\"attachment_13286092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg\" alt=\"A street close to England's Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street close to England’s Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One witness, Josh Elliott, told the BBC Radio 5 Live that “A bang went off and everyone stopped and screamed. … We basically hit the deck,” he said. “It was bedlam … it was horrific. We got up when we thought it was safe and got out as quickly as possible. People were just crying and in tears. … Police cars were everywhere.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Some things that get reported by the media will later turn out to be wrong. We will focus on reports from police officials and other authorities, credible news outlets and reporters who are at the scene. We will update as the situation develops.\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=British+Police+Confirm+19+People+Dead+After+Reported+Explosion+At+Manchester+Arena&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Updated May 23, 2017, at 1pm:\u003c/b>\u003c/p>\n\u003cp>The Manchester Arena was packed on Monday night with pop fans eager to hear Ariana Grande perform. Her songs are bubblegum pop, so picture the crowd: kids and their parents, teenagers with their friends, fans looking for a cheerful night out.\u003c/p>\n\u003cp>At the end of the concert, an explosion struck near the arena. The blast killed at least 22 people and injured more than 50.\u003c/p>\n\u003cp>Young women — including very young girls — are Grande’s core fan base. And authorities confirmed that children were among the dead, which was quickly apparent as friends, family and schools began reporting the names of some of those victims.\u003c/p>\n\u003cp>The first to be named was an 18-year-old woman. The second, an 8-year-old girl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saffie Rose Roussos, the 8-year-old, was attending the concert with her mother and sister, \u003cem>The Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/23/parents-in-desperate-search-for-missing-children-after-manchester-attack\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>Saffie was initially identified as missing after the attack. Her photo was circulated online by friends of the family who knew that Saffie’s mother and sister had been hospitalized, but couldn’t find Saffie, according to Metro.\u003c/p>\n\u003cp>Now her death has been confirmed by the headmaster of her school, Chris Upton, who told the Guardian Saffie was “simply a beautiful little girl in every aspect of the word. She was loved by everyone and her warmth and kindness will be remembered fondly.”\u003c/p>\n\u003cp>An 18-year-old college student, Georgina Callander, was also named as a victim.\u003c/p>\n\u003cp>Callander was studying health and social care at Runshaw College, which \u003ca href=\"https://www.facebook.com/153080444733762/posts/1566034293438363\" target=\"_blank\" rel=\"noopener\">confirmed her death on Facebook\u003c/a>.\u003c/p>\n\u003cp>Callander had a buoyant social media presence, celebrating the singers, actors and shows that she followed passionately, and rejoicing over school achievements like finishing a long paper.\u003c/p>\n\u003cp>She often sought photos with celebrities — in fact, took a picture with Ariana Grande two years ago. Her caption read in part, “I HUGGED HER SO TIGHT AND SHE SAID SHE LOVED MY BOW.”\u003c/p>\n\u003cp>On Sunday, she tweeted at Grande, “SO EXCITED TO SEE YOU TOMORROW.”\u003c/p>\n\u003cp>A third victim has been identified as John Atkinson, according to the Manchester Evening News. His age has been reported as 26 and 28.\u003c/p>\n\u003cp>Friends called him “a beautiful soul” and “an amazing young man,” the newspaper reports.\u003c/p>\n\u003cp>Many of the people injured in the attack were still receiving treatment at area hospitals.\u003c/p>\n\u003cp>A dozen children were among those who were hospitalized, a director of an ambulance service tells The Guardian.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>Police in Manchester, England, confirm 19 people dead at Manchester Arena following an apparent explosion after a concert by Ariana Grande. About 50 people have been injured.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/gmpolice\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> says police will treat the incident as a terrorist attack until they know otherwise.\u003c/p>\n\u003cp>Authorities also say they conducted a “\u003ca href=\"https://twitter.com/gmpolice/status/866816910612103169\" target=\"_blank\" rel=\"noopener\">precautionary controlled explosion,\u003c/a>” and the thing they had been concerned about turned out to be abandoned clothing and not a suspicious item.\u003c/p>\n\u003cp>The management of the Manchester Arena issued \u003ca href=\"https://twitter.com/ManchesterArena/status/866808098798927873/photo/1\">a statement\u003c/a>, saying the incident happened outside the facility.\u003c/p>\n\u003cfigure id=\"attachment_13286091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg\" alt=\"Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/uk-england-manchester-40007886\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> witnesses heard an explosion, which was followed by a chaotic scene with audience members running for the exits.\u003c/p>\n\u003cp>\u003ca href=\"http://www.reuters.com/article/us-britain-security-manchester-idUSKBN18I2OP?il=0\" target=\"_blank\" rel=\"noopener\">Reuters\u003c/a> reports that emergency services are responding to the reports of “a serious incident.” Greater Manchester Police are advising people to “avoid the area.”\u003c/p>\n\u003cp>A spokesman for the pop singer said that she was “okay,” according to Reuters.\\\u003c/p>\n\u003cfigure id=\"attachment_13286092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg\" alt=\"A street close to England's Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street close to England’s Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One witness, Josh Elliott, told the BBC Radio 5 Live that “A bang went off and everyone stopped and screamed. … We basically hit the deck,” he said. “It was bedlam … it was horrific. We got up when we thought it was safe and got out as quickly as possible. People were just crying and in tears. … Police cars were everywhere.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Some things that get reported by the media will later turn out to be wrong. We will focus on reports from police officials and other authorities, credible news outlets and reporters who are at the scene. We will update as the situation develops.\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=British+Police+Confirm+19+People+Dead+After+Reported+Explosion+At+Manchester+Arena&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Richard Oakes, Who Occupied Alcatraz For Native Rights, Gets a Birthday Honor",
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"content": "\u003cp>In November 1969, Richard Oakes and dozens of his fellow Native American activists came ashore at Alcatraz. The little island in San Francisco Bay had lain dormant since 1963, when its infamous federal prison had been shut down, and the group Oakes led set out to claim the land as its own.\u003c/p>\n\u003cp>The Indians of All Tribes had a century-old legal basis: \u003ca href=\"http://www.pbs.org/weta/thewest/resources/archives/four/ftlaram.htm\" target=\"_blank\" rel=\"noopener\">the 1868 Fort Laramie Treaty\u003c/a> between the U.S. and the Sioux and Lakota, which they said returned defunct federal lands to native people. They announced that, by the terms of this treaty, Alcatraz could be legally claimed as theirs.\u003c/p>\n\u003cp>And so Oakes and his compatriots stayed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7QNfUE7hBUc\u003c/p>\n\u003cp>That day commenced a 19-month occupation of the island that attracted national attention to native rights and catapulted Oakes into wider notoriety and acclaim — such acclaim, in fact, that nearly five decades later, Google is celebrating his birthday with a \u003ca href=\"https://www.google.com/doodles/richard-oakes-75th-birthday\" target=\"_blank\" rel=\"noopener\">doodle in his honor\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The aim was not only to set up a community, complete with a university, museum and cultural center, but also for the government to acknowledge the rights of American Indians to claim the out-of-use federal land as their own,” the tech giant writes in a blog post. “Although Richard didn’t succeed in gaining the deeds to Alcatraz for his people, he brought their issues into the media spotlight and made a substantial impact on the treatment of American Indians in the US.”\u003c/p>\n\u003cp>“There’s just a dual sense of justice in this country,” Oakes said in \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187780\" target=\"_blank\" rel=\"noopener\">an interview just days after the occupation began\u003c/a>. “We’d like an end to this. And I think this — manning the island of Alcatraz — is a positive step in that direction. If they’re going to treat us separately, then we’ll remain separately.”\u003c/p>\n\u003cp>Within half a year, though, the occupation began to splinter and weaken as many of the original occupiers returned to their daily lives and were replaced with others, some of whom rejected the Mohawk activist’s leadership and pursued different aims.\u003c/p>\n\u003cp>“The final blow to the organized leadership occurred on January 5, 1970, when Oakes’s 13 year old stepdaughter fell three floors down a stairwell to her death,” \u003ca href=\"https://www.nps.gov/alca/learn/historyculture/we-hold-the-rock.htm\" target=\"_blank\" rel=\"noopener\">the National Park Service writes\u003c/a>. “Following Yvonne’s death, Oakes left the island and the two competing groups maneuvered back and forth for leadership on the island.”\u003c/p>\n\u003cp>It would be another year and a half before federal law enforcement stormed Alcatraz and removed the few remaining occupiers.\u003c/p>\n\u003cp>And while the overt aims of the occupation were never realized, the Park Service explains that something else was achieved with Oakes’ efforts:\u003c/p>\n\u003cblockquote>\n\u003cp>“The success or failure of the occupation should not be judged by whether the demands of the occupiers were realized. The underlying goals of the Indians on Alcatraz were to awaken the American public to the reality of the plight of the first Americans and to assert the need for Indian self-determination. As a result of the occupation, either directly or indirectly, the official government policy of termination of Indian tribes was ended and a policy of Indian self-determination became the official US government policy.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Before that occupation even ended, Oakes was on to his next fight, taking part in the Pit River Indians’ attempts to reclaim tribal land in Northern California. And once more he had little difficulty grabbing national headlines, joining the tribe in resisting not only Pacific Gas & Electric — the company that had laid claim to the land — but \u003ca href=\"https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=DS19700605.2.15\">U.S. law enforcement, too\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was killed in 1972 under murky circumstances, after a confrontation with a white man turned violent. Though Oakes was unarmed, the man who shot him dead was acquitted of manslaughter on grounds of self-defense. \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=Richard+Oakes%2C+Who+Occupied+Alcatraz+For+Native+Rights%2C+Gets+A+Birthday+Honor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In November 1969, Richard Oakes and dozens of his fellow Native American activists came ashore at Alcatraz. The little island in San Francisco Bay had lain dormant since 1963, when its infamous federal prison had been shut down, and the group Oakes led set out to claim the land as its own.\u003c/p>\n\u003cp>The Indians of All Tribes had a century-old legal basis: \u003ca href=\"http://www.pbs.org/weta/thewest/resources/archives/four/ftlaram.htm\" target=\"_blank\" rel=\"noopener\">the 1868 Fort Laramie Treaty\u003c/a> between the U.S. and the Sioux and Lakota, which they said returned defunct federal lands to native people. They announced that, by the terms of this treaty, Alcatraz could be legally claimed as theirs.\u003c/p>\n\u003cp>And so Oakes and his compatriots stayed.\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/7QNfUE7hBUc'\n title='//www.youtube.com/embed/7QNfUE7hBUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That day commenced a 19-month occupation of the island that attracted national attention to native rights and catapulted Oakes into wider notoriety and acclaim — such acclaim, in fact, that nearly five decades later, Google is celebrating his birthday with a \u003ca href=\"https://www.google.com/doodles/richard-oakes-75th-birthday\" target=\"_blank\" rel=\"noopener\">doodle in his honor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The aim was not only to set up a community, complete with a university, museum and cultural center, but also for the government to acknowledge the rights of American Indians to claim the out-of-use federal land as their own,” the tech giant writes in a blog post. “Although Richard didn’t succeed in gaining the deeds to Alcatraz for his people, he brought their issues into the media spotlight and made a substantial impact on the treatment of American Indians in the US.”\u003c/p>\n\u003cp>“There’s just a dual sense of justice in this country,” Oakes said in \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187780\" target=\"_blank\" rel=\"noopener\">an interview just days after the occupation began\u003c/a>. “We’d like an end to this. And I think this — manning the island of Alcatraz — is a positive step in that direction. If they’re going to treat us separately, then we’ll remain separately.”\u003c/p>\n\u003cp>Within half a year, though, the occupation began to splinter and weaken as many of the original occupiers returned to their daily lives and were replaced with others, some of whom rejected the Mohawk activist’s leadership and pursued different aims.\u003c/p>\n\u003cp>“The final blow to the organized leadership occurred on January 5, 1970, when Oakes’s 13 year old stepdaughter fell three floors down a stairwell to her death,” \u003ca href=\"https://www.nps.gov/alca/learn/historyculture/we-hold-the-rock.htm\" target=\"_blank\" rel=\"noopener\">the National Park Service writes\u003c/a>. “Following Yvonne’s death, Oakes left the island and the two competing groups maneuvered back and forth for leadership on the island.”\u003c/p>\n\u003cp>It would be another year and a half before federal law enforcement stormed Alcatraz and removed the few remaining occupiers.\u003c/p>\n\u003cp>And while the overt aims of the occupation were never realized, the Park Service explains that something else was achieved with Oakes’ efforts:\u003c/p>\n\u003cblockquote>\n\u003cp>“The success or failure of the occupation should not be judged by whether the demands of the occupiers were realized. The underlying goals of the Indians on Alcatraz were to awaken the American public to the reality of the plight of the first Americans and to assert the need for Indian self-determination. As a result of the occupation, either directly or indirectly, the official government policy of termination of Indian tribes was ended and a policy of Indian self-determination became the official US government policy.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Before that occupation even ended, Oakes was on to his next fight, taking part in the Pit River Indians’ attempts to reclaim tribal land in Northern California. And once more he had little difficulty grabbing national headlines, joining the tribe in resisting not only Pacific Gas & Electric — the company that had laid claim to the land — but \u003ca href=\"https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=DS19700605.2.15\">U.S. law enforcement, too\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was killed in 1972 under murky circumstances, after a confrontation with a white man turned violent. Though Oakes was unarmed, the man who shot him dead was acquitted of manslaughter on grounds of self-defense. \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=Richard+Oakes%2C+Who+Occupied+Alcatraz+For+Native+Rights%2C+Gets+A+Birthday+Honor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rebel Wilson was devastated by a series of magazine articles that she says painted her as a liar and subsequently cost her roles in Hollywood, a lawyer for the actress said Monday.\u003c/p>\n\u003cp>Wilson is suing Australian publisher Bauer Media for defamation over several articles published in 2015 that the Australian-born actress said led to her film contracts being terminated.\u003c/p>\n\u003cp>At the opening of the trial in the Supreme Court of Victoria on Monday, Wilson’s lawyer, Matthew Collins, said his client was “cut to the core” when she learned 1.5 million people had read an article online that said she had lied about her name, age and upbringing in Australia. Collins said the articles were published to coincide with a high point in Wilson’s acting career, including the release of \u003cem>Pitch Perfect 2\u003c/em>.\u003c/p>\n\u003cp>“She thought she’d never been hit with such nastiness, coincided to time with the pinnacle of her career,” Collins told the court.\u003c/p>\n\u003cp>Collins said Wilson was subsequently fired from several movie roles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actress, known for her work in comedies such as \u003cem>Pitch Perfect\u003c/em> and \u003cem>Bridesmaids\u003c/em>, flew to Melbourne for the three-week trial and sat in court on Monday alongside her sister. She is expected to testify at a later date.\u003c/p>\n\u003cp>Wilson is seeking unspecified damages from the publisher.\u003c/p>\n\u003cp>A lawyer for Bauer Media rejected the argument that the articles had harmed Wilson, telling the court that no reasonable reader would have thought any less of the actress by reading them.\u003c/p>\n\u003cp>“They weren’t nasty articles,” lawyer Georgina Schoff said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schoff also said the articles were factual, telling the court that Wilson did not grow up in the “ghetto” of Sydney as the actress previously said in interviews. In fact, Schoff said, Wilson attended an elite private boarding school.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rebel Wilson was devastated by a series of magazine articles that she says painted her as a liar and subsequently cost her roles in Hollywood, a lawyer for the actress said Monday.\u003c/p>\n\u003cp>Wilson is suing Australian publisher Bauer Media for defamation over several articles published in 2015 that the Australian-born actress said led to her film contracts being terminated.\u003c/p>\n\u003cp>At the opening of the trial in the Supreme Court of Victoria on Monday, Wilson’s lawyer, Matthew Collins, said his client was “cut to the core” when she learned 1.5 million people had read an article online that said she had lied about her name, age and upbringing in Australia. Collins said the articles were published to coincide with a high point in Wilson’s acting career, including the release of \u003cem>Pitch Perfect 2\u003c/em>.\u003c/p>\n\u003cp>“She thought she’d never been hit with such nastiness, coincided to time with the pinnacle of her career,” Collins told the court.\u003c/p>\n\u003cp>Collins said Wilson was subsequently fired from several movie roles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actress, known for her work in comedies such as \u003cem>Pitch Perfect\u003c/em> and \u003cem>Bridesmaids\u003c/em>, flew to Melbourne for the three-week trial and sat in court on Monday alongside her sister. She is expected to testify at a later date.\u003c/p>\n\u003cp>Wilson is seeking unspecified damages from the publisher.\u003c/p>\n\u003cp>A lawyer for Bauer Media rejected the argument that the articles had harmed Wilson, telling the court that no reasonable reader would have thought any less of the actress by reading them.\u003c/p>\n\u003cp>“They weren’t nasty articles,” lawyer Georgina Schoff said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schoff also said the articles were factual, telling the court that Wilson did not grow up in the “ghetto” of Sydney as the actress previously said in interviews. In fact, Schoff said, Wilson attended an elite private boarding school.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chris Cornell's Family Disputes Claims He Killed Himself",
"headTitle": "Chris Cornell’s Family Disputes Claims He Killed Himself | KQED",
"content": "\u003cp>Rock musician Chris Cornell’s wife on Friday disputed “inferences” that the rocker killed himself in a Detroit hotel room, saying he may have taken more of an anti-anxiety drug than he was prescribed.\u003c/p>\n\u003cp>The Wayne County Medical Examiner’s Office said Cornell — the lead singer in Soundgarden and Audioslave — hanged himself early Thursday morning after performing at a concert Wednesday night. \u003c/p>\n\u003cp>But Cornell’s family said that without toxicology test results completed they don’t know what caused his death.\u003c/p>\n\u003cp>On Friday, an official said the results of a full autopsy and toxicology tests could take days before they are completed and released.\u003c/p>\n\u003cp>Cornell, 52, was found unresponsive in his hotel room hours after he performed at a Soundgarden concert. According to the Detroit News, a police report says Cornell’s bodyguard gave him two prescription pills for anxiety after the concert. The bodyguard later found Cornell on the bathroom floor of his room with an exercise band around his neck, the newspaper reported.\u003cbr>\nThe newspaper said it obtained the police report but doesn’t say how.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vicky Cornell, Cornell’s wife, said that when she spoke to her husband after the Detroit show, he told her he may have taken “an extra Ativan or two.” According to lawyer Kirk Pasich, the musician had a prescription for the anti-anxiety drug. Ativan, a sedative, has side effects that can include drowsiness and dizziness, according to the National Institutes of Health.\u003c/p>\n\u003cp>“Without the results of toxicology tests, we do not know what was going on with Chris — or if any substances contributed to his demise,” Pasich said in a statement released to The Associated Press. “Chris, a recovering addict, had a prescription for Ativan and may have taken more Ativan than recommended dosages.\u003c/p>\n\u003cp>“The family believes that if Chris took his life, he did not know what he was doing, and that drugs or other substances may have affected his actions.”\u003c/p>\n\u003cp>Cornell has battled addiction problems in the past. He told Rolling Stone in a 1994 interview that he started using drugs at age 13, and was kicked out of school at 15.\u003c/p>\n\u003cp>“I went from being a daily drug user at 13 to having bad drug experiences and quitting drugs by the time I was 14, and then not having any friends until the time I was 16,” he said. “There was about two years where I was more or less agoraphobic and didn’t deal with anybody, didn’t talk to anybody, didn’t have any friends at all.\u003c/p>\n\u003cp>“All the friends that I had were still (messed) up with drugs and were people that I didn’t really have anything in common with.”\u003c/p>\n\u003cp>Vicky Cornell said her husband slurred his words when she spoke with him after the Detroit show. She said “he was different,” and she contacted security to check on him.\u003c/p>\n\u003cp>“What happened is inexplicable, and I am hopeful that further medical reports will provide additional details,” she said. “I know that he loved our children and he would not hurt them by intentionally taking his own life.”\u003c/p>\n\u003cp>Cornell was a leader of the grunge movement with Seattle-based Soundgarden — with whom he gained critical and commercial acclaim. He also found success outside the band with other projects, including Audioslave, Temple of the Dog, and solo albums. Soundgarden’s current tour kicked off in late April and was planned to run through May 27.\u003c/p>\n\u003cp>Grief-stricken fans left flowers at memorials across Seattle on Thursday for the musician whose forceful, somber songs helped cement the city’s place in rock history.\u003c/p>\n\u003cp>One of the locations where people gathered was the Sound Garden art sculpture at a Seattle park, for which Soundgarden was named.\u003c/p>\n\u003cp>“It’s really sad that he could never find peace in his life,” said Chad White, who came to the art display with his young son, Ignatius, to honor Cornell.\u003c/p>\n\u003cp>The city’s Space Needle went dark at 9 p.m. for an hour in tribute to Cornell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cornell was born and raised in the city and was part of a close-knit group of artists who formed the foundation of what would become the grunge scene that exploded in the early 1990s, by combining the bombast of early 1970s heavy metal with the aggression and attitude of punk rock.\u003cbr>\n___\u003cbr>\nFekadu reported from New York City. Associated Press reporter Chris Grygiel in Seattle contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock musician Chris Cornell’s wife on Friday disputed “inferences” that the rocker killed himself in a Detroit hotel room, saying he may have taken more of an anti-anxiety drug than he was prescribed.\u003c/p>\n\u003cp>The Wayne County Medical Examiner’s Office said Cornell — the lead singer in Soundgarden and Audioslave — hanged himself early Thursday morning after performing at a concert Wednesday night. \u003c/p>\n\u003cp>But Cornell’s family said that without toxicology test results completed they don’t know what caused his death.\u003c/p>\n\u003cp>On Friday, an official said the results of a full autopsy and toxicology tests could take days before they are completed and released.\u003c/p>\n\u003cp>Cornell, 52, was found unresponsive in his hotel room hours after he performed at a Soundgarden concert. According to the Detroit News, a police report says Cornell’s bodyguard gave him two prescription pills for anxiety after the concert. The bodyguard later found Cornell on the bathroom floor of his room with an exercise band around his neck, the newspaper reported.\u003cbr>\nThe newspaper said it obtained the police report but doesn’t say how.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vicky Cornell, Cornell’s wife, said that when she spoke to her husband after the Detroit show, he told her he may have taken “an extra Ativan or two.” According to lawyer Kirk Pasich, the musician had a prescription for the anti-anxiety drug. Ativan, a sedative, has side effects that can include drowsiness and dizziness, according to the National Institutes of Health.\u003c/p>\n\u003cp>“Without the results of toxicology tests, we do not know what was going on with Chris — or if any substances contributed to his demise,” Pasich said in a statement released to The Associated Press. “Chris, a recovering addict, had a prescription for Ativan and may have taken more Ativan than recommended dosages.\u003c/p>\n\u003cp>“The family believes that if Chris took his life, he did not know what he was doing, and that drugs or other substances may have affected his actions.”\u003c/p>\n\u003cp>Cornell has battled addiction problems in the past. He told Rolling Stone in a 1994 interview that he started using drugs at age 13, and was kicked out of school at 15.\u003c/p>\n\u003cp>“I went from being a daily drug user at 13 to having bad drug experiences and quitting drugs by the time I was 14, and then not having any friends until the time I was 16,” he said. “There was about two years where I was more or less agoraphobic and didn’t deal with anybody, didn’t talk to anybody, didn’t have any friends at all.\u003c/p>\n\u003cp>“All the friends that I had were still (messed) up with drugs and were people that I didn’t really have anything in common with.”\u003c/p>\n\u003cp>Vicky Cornell said her husband slurred his words when she spoke with him after the Detroit show. She said “he was different,” and she contacted security to check on him.\u003c/p>\n\u003cp>“What happened is inexplicable, and I am hopeful that further medical reports will provide additional details,” she said. “I know that he loved our children and he would not hurt them by intentionally taking his own life.”\u003c/p>\n\u003cp>Cornell was a leader of the grunge movement with Seattle-based Soundgarden — with whom he gained critical and commercial acclaim. He also found success outside the band with other projects, including Audioslave, Temple of the Dog, and solo albums. Soundgarden’s current tour kicked off in late April and was planned to run through May 27.\u003c/p>\n\u003cp>Grief-stricken fans left flowers at memorials across Seattle on Thursday for the musician whose forceful, somber songs helped cement the city’s place in rock history.\u003c/p>\n\u003cp>One of the locations where people gathered was the Sound Garden art sculpture at a Seattle park, for which Soundgarden was named.\u003c/p>\n\u003cp>“It’s really sad that he could never find peace in his life,” said Chad White, who came to the art display with his young son, Ignatius, to honor Cornell.\u003c/p>\n\u003cp>The city’s Space Needle went dark at 9 p.m. for an hour in tribute to Cornell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cornell was born and raised in the city and was part of a close-knit group of artists who formed the foundation of what would become the grunge scene that exploded in the early 1990s, by combining the bombast of early 1970s heavy metal with the aggression and attitude of punk rock.\u003cbr>\n___\u003cbr>\nFekadu reported from New York City. Associated Press reporter Chris Grygiel in Seattle contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PWR BTTM Issues New Statement Addressing Allegations of Sexual Misconduct",
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"content": "\u003cp>PWR BTTM has responded at length and in detail to allegations of sexual misconduct directed towards Ben Hopkins, a member of the Brooklyn-based duo. In a statement released Thursday afternoon, Hopkins acknowledges a sexual relationship with a woman who accused the musician of rape in an anonymous interview posted on \u003cem>Jezebel \u003c/em>last week, but reports a different version of events. “[T]he statements made about me by the anonymous source did not line up with any sexual experience I have ever had,” Hopkins writes in the statement.\u003c/p>\n\u003cp>“We met the night before a show in March of 2016,” Hopkins writes. “After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual.”\u003c/p>\n\u003cp>It’s been just over a week since the allegations, which began circulating in social media posts and were further detailed in an anonymous interview, began getting reported widely. Within days, the band’s music had been pulled from streaming services — including a brand-new record, \u003cem>Pageant\u003c/em>, released last Friday. Bands scheduled to accompany PWR BTTM on a tour promoting \u003cem>Pageant \u003c/em>pulled out of those performances. The group was dropped by its management and at least one festival had removed it from the lineup.\u003c/p>\n\u003cp>As the story was breaking, PWR BTTM issued \u003ca href=\"https://www.facebook.com/PWRBTTM666/posts/793308764171998\">an initial statement\u003c/a> saying the group was surprised by the allegations and that Hopkins had never been “contacted by any survivor(s) of abuse.” But last Friday, after the band’s statement had been released, \u003cem>Jezebel\u003c/em> published \u003ca href=\"http://jezebel.com/member-of-queer-punk-band-pwr-bttm-accused-of-sexual-as-1795132781\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> in which an anonymous woman said that Hopkins had sex with her without her permission and while she was intoxicated, following a PWR BTTM show in the spring of 2016. She is quoted in the piece as saying Hopkins assaulted her for the second time a month after the first, and that she came to the realization she had been the victim of sexual assault some time later, after talking over the experience with friends.\u003c/p>\n\u003cp>The new statement is split into three parts — one from Hopkins, one from Bruce and one from the band as a whole. PWR BTTM attempts to explain the discrepancies created by its first public address of the controversy, to address the allegations against Hopkins and to retract the band’s much-criticized attempt at mediation presented in its initial statement. (The full statement can be found at the bottom of this article.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hopkins’ statement offers a different perspective of the events. “Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual,” Hopkins writes.\u003c/p>\n\u003cp>“That being said,” the statement continues, “in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.”\u003c/p>\n\u003cp>The account in \u003cem>Jezebel\u003c/em>‘s article conflicted with band’s earlier statement of having been surprised by the accusations; the accuser told \u003cem>Jezebel\u003c/em> that she had contacted Hopkins’ bandmate Liv Bruce earlier this year. In the new statement, Bruce acknowledges contacting Hopkins’ accuser in February, and of keeping the conversation from Hopkins until last Friday.\u003c/p>\n\u003cp>NPR Music has covered or partnered with PWR BTTM on several occasions. It premiered \u003cem>Pageant\u003c/em> on May 4 as part of its First Listen series; invited the band to play a Tiny Desk Concert in 2016; Hopkins was a judge in the 2017 Tiny Desk Contest; and PWR BTTM performed at NPR Music’s 2017 SXSW showcase.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>RAINN, an organization which provides confidential support to survivors of sexual assault, \u003ca href=\"https://www.rainn.org/\">can be reached at its website\u003c/a> (where they offer \u003ca href=\"https://hotline.rainn.org/online/terms-of-service.jsp\">privacy-focused online chat\u003c/a> to victims) or by phone at 1-800-656-4673.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>PWR BTTM’s full statement:\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>\u003cem>From Ben [Hopkins]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I’ve waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.\u003c/p>\n\u003cp>Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.\u003c/p>\n\u003cp>Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual’s right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person’s experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when – or especially if – the individual they seek to hold accountable is me. I fully appreciate that someone’s views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person’s perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.\u003c/p>\n\u003cp>One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and\u003c/p>\n\u003cp>off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From Liv [Bruce]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.\u003c/p>\n\u003cp>After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.\u003c/p>\n\u003cp>After Ben ascertained the individual’s identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From PWR BTTM:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).\u003c/p>\n\u003cp>Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.\u003c/p>\n\u003c/blockquote>\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=PWR+BTTM+Issues+New+Statement+Addressing+Allegations+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PWR BTTM has responded at length and in detail to allegations of sexual misconduct directed towards Ben Hopkins, a member of the Brooklyn-based duo. In a statement released Thursday afternoon, Hopkins acknowledges a sexual relationship with a woman who accused the musician of rape in an anonymous interview posted on \u003cem>Jezebel \u003c/em>last week, but reports a different version of events. “[T]he statements made about me by the anonymous source did not line up with any sexual experience I have ever had,” Hopkins writes in the statement.\u003c/p>\n\u003cp>“We met the night before a show in March of 2016,” Hopkins writes. “After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual.”\u003c/p>\n\u003cp>It’s been just over a week since the allegations, which began circulating in social media posts and were further detailed in an anonymous interview, began getting reported widely. Within days, the band’s music had been pulled from streaming services — including a brand-new record, \u003cem>Pageant\u003c/em>, released last Friday. Bands scheduled to accompany PWR BTTM on a tour promoting \u003cem>Pageant \u003c/em>pulled out of those performances. The group was dropped by its management and at least one festival had removed it from the lineup.\u003c/p>\n\u003cp>As the story was breaking, PWR BTTM issued \u003ca href=\"https://www.facebook.com/PWRBTTM666/posts/793308764171998\">an initial statement\u003c/a> saying the group was surprised by the allegations and that Hopkins had never been “contacted by any survivor(s) of abuse.” But last Friday, after the band’s statement had been released, \u003cem>Jezebel\u003c/em> published \u003ca href=\"http://jezebel.com/member-of-queer-punk-band-pwr-bttm-accused-of-sexual-as-1795132781\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> in which an anonymous woman said that Hopkins had sex with her without her permission and while she was intoxicated, following a PWR BTTM show in the spring of 2016. She is quoted in the piece as saying Hopkins assaulted her for the second time a month after the first, and that she came to the realization she had been the victim of sexual assault some time later, after talking over the experience with friends.\u003c/p>\n\u003cp>The new statement is split into three parts — one from Hopkins, one from Bruce and one from the band as a whole. PWR BTTM attempts to explain the discrepancies created by its first public address of the controversy, to address the allegations against Hopkins and to retract the band’s much-criticized attempt at mediation presented in its initial statement. (The full statement can be found at the bottom of this article.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hopkins’ statement offers a different perspective of the events. “Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual,” Hopkins writes.\u003c/p>\n\u003cp>“That being said,” the statement continues, “in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.”\u003c/p>\n\u003cp>The account in \u003cem>Jezebel\u003c/em>‘s article conflicted with band’s earlier statement of having been surprised by the accusations; the accuser told \u003cem>Jezebel\u003c/em> that she had contacted Hopkins’ bandmate Liv Bruce earlier this year. In the new statement, Bruce acknowledges contacting Hopkins’ accuser in February, and of keeping the conversation from Hopkins until last Friday.\u003c/p>\n\u003cp>NPR Music has covered or partnered with PWR BTTM on several occasions. It premiered \u003cem>Pageant\u003c/em> on May 4 as part of its First Listen series; invited the band to play a Tiny Desk Concert in 2016; Hopkins was a judge in the 2017 Tiny Desk Contest; and PWR BTTM performed at NPR Music’s 2017 SXSW showcase.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>RAINN, an organization which provides confidential support to survivors of sexual assault, \u003ca href=\"https://www.rainn.org/\">can be reached at its website\u003c/a> (where they offer \u003ca href=\"https://hotline.rainn.org/online/terms-of-service.jsp\">privacy-focused online chat\u003c/a> to victims) or by phone at 1-800-656-4673.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>PWR BTTM’s full statement:\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>\u003cem>From Ben [Hopkins]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I’ve waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.\u003c/p>\n\u003cp>Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.\u003c/p>\n\u003cp>Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual’s right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person’s experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when – or especially if – the individual they seek to hold accountable is me. I fully appreciate that someone’s views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person’s perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.\u003c/p>\n\u003cp>One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and\u003c/p>\n\u003cp>off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From Liv [Bruce]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.\u003c/p>\n\u003cp>After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.\u003c/p>\n\u003cp>After Ben ascertained the individual’s identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From PWR BTTM:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).\u003c/p>\n\u003cp>Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.\u003c/p>\n\u003c/blockquote>\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=PWR+BTTM+Issues+New+Statement+Addressing+Allegations+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Michel Basquiat joined “joined the pantheon of great, great artists” Thursday night, when the late painter’s 1982 work \u003cem>Untitled\u003c/em> sold for a record-breaking $110.5 million at auction — the highest sum ever paid at auction for a U.S.-produced artwork.\u003c/p>\n\u003cp>That breathless assessment was offered after the sale by Oliver Barker, chairman of Sotheby’s Europe. So you can imagine just how thrilled the buyer must have been.\u003c/p>\n\u003cp>“I am happy to announce that I just won this masterpiece,” Japanese billionaire Yusaku Maezawa said in an Instagram post revealing his identity as the buyer. “When I first encountered this painting, I was struck with so much excitement and gratitude for my love of art. I want to share that experience with as many people as possible.”\u003c/p>\n\u003cp>The purchase price elicited gasps in the room as it sailed past expectations during the 10-minute bidding war at the Sotheby’s auction, \u003ca href=\"http://www.artnews.com/2017/05/18/record-breaking-110-5-m-basquiat-shocks-attendees-at-sothebys-319-2-m-postwar-and-contemporary-evening-sale/\">according to ARTNews magazine\u003c/a>. In fact, the publication notes, the painting nearly doubled the previous sales record for a Basquiat work, which was set last year — also with Maezawa as buyer.\u003c/p>\n\u003cp>The 41-year-old tech tycoon, rock musician, fashion entrepreneur — and, well, we can let CNN \u003ca href=\"http://money.cnn.com/2017/05/19/technology/yusaku-maezawa-music-fashion-art-basquiat/index.html?sr=twcnni051917yusaku-maezawa-music-fashion-art-basquiat1122AMVODtopLink&linkId=37781557\" target=\"_blank\" rel=\"noopener\">take it from here\u003c/a> — says he intends to place both Basquiat paintings for a museum he’s planning in his hometown, Chiba.\u003c/p>\n\u003cdiv id=\"res529100199\" class=\"bucketwrap statichtml\">\n\u003cblockquote class=\"instagram-media\" data-instgrm-version=\"7\" style=\" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:658px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);\">\n\u003cdiv style=\"padding:8px;\">\n\u003cdiv style=\" background:#F8F8F8; line-height:0; margin-top:40px; padding:50% 0; text-align:center; width:100%;\">\n\u003cdiv style=\" background:url(data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAACwAAAAsCAMAAAApWqozAAAABGdBTUEAALGPC/xhBQAAAAFzUkdCAK7OHOkAAAAMUExURczMzPf399fX1+bm5mzY9AMAAADiSURBVDjLvZXbEsMgCES5/P8/t9FuRVCRmU73JWlzosgSIIZURCjo/ad+EQJJB4Hv8BFt+IDpQoCx1wjOSBFhh2XssxEIYn3ulI/6MNReE07UIWJEv8UEOWDS88LY97kqyTliJKKtuYBbruAyVh5wOHiXmpi5we58Ek028czwyuQdLKPG1Bkb4NnM+VeAnfHqn1k4+GPT6uGQcvu2h2OVuIf/gWUFyy8OWEpdyZSa3aVCqpVoVvzZZ2VTnn2wU8qzVjDDetO90GSy9mVLqtgYSy231MxrY6I2gGqjrTY0L8fxCxfCBbhWrsYYAAAAAElFTkSuQmCC); display:block; height:44px; margin:0 auto -44px; position:relative; top:-22px; width:44px;\">\u003c/div>\n\u003c/div>\n\u003cp style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; line-height:17px; margin-bottom:0; margin-top:8px; overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;\">\u003ca href=\"https://www.instagram.com/p/BUQQMOFDStN/\" style=\" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;\" target=\"_blank\" rel=\"noopener\">A post shared by Yusaku Maezawa (@yusaku2020)\u003c/a> on \u003ctime style=\" font-family:Arial,sans-serif; font-size:14px; line-height:17px;\" datetime=\"2017-05-19T00:33:27+00:00\">May 18, 2017 at 5:33pm PDT\u003c/time>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp> \u003cscript async defer src=\"//platform.instagram.com/en_US/embeds.js\">\u003c/script>\n \u003c/p>\u003c/div>\n\u003cp>“But before then, I wish to loan this piece — which has been unseen by the public for more than 30 years — to institutions and exhibitions around the world,” he said in a statement \u003ca href=\"https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html\" target=\"_blank\" rel=\"noopener\">quoted by The New York Times\u003c/a>. “I hope it brings as much joy to others as it does to me and that this masterpiece by the 21-year-old Basquiat inspires our future generations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Basquiat died several years after creating the work that sold Thursday, overdosing on heroin in 1988 at age 27. The New York native, son of a Puerto Rican mother and Haitian-American father, began in street art and assumed mythic stature after his death — influencing a generation of artists with his visceral, politically inclined works.\u003c/p>\n\u003cp>With Thursday’s sale, \u003cem>ARTNews\u003c/em> reports that \u003cem>Untitled\u003c/em> broke the American record held by Basquiat’s friend Andy Warhol and became the sixth-most expensive work ever auctioned in the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Here’s a closer look at Basquiat’s \u003cem>Untitled\u003c/em>: \u003c/p>\n\u003cfigure id=\"attachment_13263485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-800x849.jpg\" alt=\"Jean-Michel Basquiat's 'Untitled' was produced in 1982. The <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html">Los Angeles Times says</a> that until shortly before Thursday's auction, it hadn't been shown in public since a private collector bought it for $19,000 in 1984\" width=\"800\" height=\"849\" class=\"size-medium wp-image-13263485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-160x170.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-768x815.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-240x255.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-375x398.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Basquiats-untitled-520x552.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Michel Basquiat’s ‘Untitled’ was produced in 1982. The \u003ca href=\"http://www.latimes.com/entertainment/la-et-entertainment-news-updates-may-basquiat-painting-auction-1495159714-htmlstory.html\">Los Angeles Times says\u003c/a> that until shortly before Thursday’s auction, it hadn’t been shown in public since a private collector bought it for $19,000 in 1984 \u003ccite>(Courtesy of NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=At+%24110.5+Million%2C+Basquiat+Painting+Becomes+Priciest+Work+Ever+Sold+By+A+U.S.+Artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003cem>May 5, 2017, 10:55am.\u003c/em>\u003c/p>\n\u003cp>The Associated Press reports that the medical examiner in Detroit determined Cornell’s death was a suicide by hanging. More details to come.\u003c/p>\n\u003cp>\u003cb>Original story below:\u003c/b>\u003c/p>\n\u003cp>Chris Cornell, the soulful, multi-ranged vocalist for bands Soundgarden, Temple of the Dog and Audioslave, has died at age 52, according to a representative.\u003c/p>\n\u003cp>Cornell had been on tour with Soundgarden when he died Wednesday night in Detroit, Brian Bumbery said in a statement to the Associated Press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bumbery called the death “sudden and unexpected” and said his wife and family were shocked by it. The statement said the family would be working closely with the medical examiner to determine the cause and asked for privacy.\u003c/p>\n\u003cp>With his powerful, nearly four-octave vocal range, Cornell was one of the leading voices of the 1990s grunge movement with Soundgarden, which emerged as one of the biggest bands out of Seattle’s emerging music scene, joining the likes of Nirvana, Pearl Jam and Alice in Chains.\u003c/p>\n\u003cp>Formed in 1984 by Cornell, guitarist Kim Thayil and bassist Hiro Yamamoto, Soundgarden’s third studio album, \u003cem>Badmotorfinger\u003c/em>, in 1991 spawned enormously popular singles “Jesus Christ Pose,” “Rusty Cage” and “Outshined” that received regular play on alternative rock radio stations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sNh-iw7gsuI\u003c/p>\n\u003cp>Cornell also collaborated with members of what would become Pearl Jam to form Temple of the Dog, which produced a self-titled album in 1991 in tribute to friend Andrew Wood, former frontman for Mother Love Bone.\u003c/p>\n\u003cp>Three years later, Soundgarden broke through on mainstream radio with the album \u003cem>Superunknown\u003c/em>, which debuted at No. 1 on the Billboard 200 and was nominated for a Grammy for Best Rock Record in 1995. It included hit singles “Spoonman,” “Fell on Black Days,” “Black Hole Sun,” “My Wave” and “The Day I Tried to Live.”\u003c/p>\n\u003cp>Soundgarden disbanded in 1997 due to tensions in the band, and Cornell pursued a solo career. In 2001, he joined Audioslave, a supergroup that included former Rage Against the Machine members Tom Morello, Brad Wilk and Tim Commerford. The band released three albums in six years and also performed at a concert billed as Cuba’s first outdoor rock concert by an American band, though some Cuban artists have disputed that claim.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7QU1nvuxaMA\u003c/p>\n\u003cp>Audioslave disbanded in 2007, but Cornell and Soundgarden reunited in 2012 and released the band’s sixth studio album, \u003cem>King Animal\u003c/em> in 2012.\u003c/p>\n\u003cp>In addition to his music, Cornell also became involved in philanthropy and started the Chris and Vicky Cornell Foundation to support children facing challenges, including homelessness, poverty, abuse and neglect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>___\u003cbr>\nKQED’s Kevin L. Jones and Associated Press writer Dennis Waszak in New York contributed to this report.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bumbery called the death “sudden and unexpected” and said his wife and family were shocked by it. The statement said the family would be working closely with the medical examiner to determine the cause and asked for privacy.\u003c/p>\n\u003cp>With his powerful, nearly four-octave vocal range, Cornell was one of the leading voices of the 1990s grunge movement with Soundgarden, which emerged as one of the biggest bands out of Seattle’s emerging music scene, joining the likes of Nirvana, Pearl Jam and Alice in Chains.\u003c/p>\n\u003cp>Formed in 1984 by Cornell, guitarist Kim Thayil and bassist Hiro Yamamoto, Soundgarden’s third studio album, \u003cem>Badmotorfinger\u003c/em>, in 1991 spawned enormously popular singles “Jesus Christ Pose,” “Rusty Cage” and “Outshined” that received regular play on alternative rock radio stations.\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/sNh-iw7gsuI'\n title='//www.youtube.com/embed/sNh-iw7gsuI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cornell also collaborated with members of what would become Pearl Jam to form Temple of the Dog, which produced a self-titled album in 1991 in tribute to friend Andrew Wood, former frontman for Mother Love Bone.\u003c/p>\n\u003cp>Three years later, Soundgarden broke through on mainstream radio with the album \u003cem>Superunknown\u003c/em>, which debuted at No. 1 on the Billboard 200 and was nominated for a Grammy for Best Rock Record in 1995. It included hit singles “Spoonman,” “Fell on Black Days,” “Black Hole Sun,” “My Wave” and “The Day I Tried to Live.”\u003c/p>\n\u003cp>Soundgarden disbanded in 1997 due to tensions in the band, and Cornell pursued a solo career. In 2001, he joined Audioslave, a supergroup that included former Rage Against the Machine members Tom Morello, Brad Wilk and Tim Commerford. The band released three albums in six years and also performed at a concert billed as Cuba’s first outdoor rock concert by an American band, though some Cuban artists have disputed that claim.\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/7QU1nvuxaMA'\n title='//www.youtube.com/embed/7QU1nvuxaMA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Audioslave disbanded in 2007, but Cornell and Soundgarden reunited in 2012 and released the band’s sixth studio album, \u003cem>King Animal\u003c/em> in 2012.\u003c/p>\n\u003cp>In addition to his music, Cornell also became involved in philanthropy and started the Chris and Vicky Cornell Foundation to support children facing challenges, including homelessness, poverty, abuse and neglect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>___\u003cbr>\nKQED’s Kevin L. Jones and Associated Press writer Dennis Waszak in New York contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Relatives of 18 of the 36 people who died in Oakland's Ghost Ship warehouse fire added California's Pacific Gas & Electric utility on Tuesday as a defendant in their wrongful death lawsuits. They claimed the company should have known the warehouse's electrical hookups were hazardous and illegally installed.\u003c/p>\n\u003cp>Authorities have not disclosed what caused the Dec. 2 fire but have said they are investigating electrical causes. PG&E was added as a defendant to a \"master complaint\" lawsuit that combined the 18 separate lawsuits into one, lawyers for those relatives said.\u003c/p>\n\u003cp>PG&E \"contributed to this fire and horrible loss of life,\" attorney Mary Alexander said. \"It's not about deep pockets, it's about culpability.\"\u003c/p>\n\u003cp>The company responded, in a statement, that it had no reports of electrical theft or problems \"or any other anomalies from this location or the adjacent premises.\"\u003c/p>\n\u003cp>It added that the utility is cooperating with authorities investigating the fire and \"can say that our thoughts and prayers are with the families and friends of the victims of this tragic event.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"QVFJPGfAmJrCvx9zKiHkPpLNrGSF4wG0\"]\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Relatives of 18 of the 36 people who died in Oakland's Ghost Ship warehouse fire added California's Pacific Gas & Electric utility on Tuesday as a defendant in their wrongful death lawsuits. They claimed the company should have known the warehouse's electrical hookups were hazardous and illegally installed.\u003c/p>\n\u003cp>Authorities have not disclosed what caused the Dec. 2 fire but have said they are investigating electrical causes. PG&E was added as a defendant to a \"master complaint\" lawsuit that combined the 18 separate lawsuits into one, lawyers for those relatives said.\u003c/p>\n\u003cp>PG&E \"contributed to this fire and horrible loss of life,\" attorney Mary Alexander said. \"It's not about deep pockets, it's about culpability.\"\u003c/p>\n\u003cp>The company responded, in a statement, that it had no reports of electrical theft or problems \"or any other anomalies from this location or the adjacent premises.\"\u003c/p>\n\u003cp>It added that the utility is cooperating with authorities investigating the fire and \"can say that our thoughts and prayers are with the families and friends of the victims of this tragic event.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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