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"content": "\u003cp>With what can seem like a nonstop torrent of complex political news coming at Americans on a daily basis, many people are craving humor as a way to escape — and make sense of — everything that’s happening.\u003c/p>\n\u003cp>“I’ve gotten so many messages from people saying, ‘We need you now more than ever!'” says cartoonist Lalo Alcaraz.\u003c/p>\n\u003cp>People are turning to Alcaraz because he’s used his cartoons — including \u003ca href=\"http://www.gocomics.com/lacucaracha/\" target=\"_blank\" rel=\"noopener\">La Cucaracha\u003c/a>, the first nationally-syndicated, politically-themed Latino daily comic strip — to talk about issues for more than two decades. His work is the subject of a new book, “\u003ca href=\"http://www.upress.state.ms.us/books/2019\" target=\"_blank\" rel=\"noopener\">Lalo Alcaraz: Political Cartooning in the Latino Community\u003c/a>” by Hector D. Fernandez L’Hoeste.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/tcrmag/2017/03/2017-03-03a-tcrmag.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Alcaraz-960x782.jpg\" Title=\"Latino Cartoonist Says 'You Have to Laugh' in Uncertain Times\" program=\"The California Report\"]\u003c/p>\n\u003cp>Lately he’s turned his focus to President Donald Trump’s administration and its impact on the Latino community in particular.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He says his family taught him the importance of seeing humor even in times of fear. “You have to laugh at your tragic life or else you’re going to be crying all day long,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11342710\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11342710\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg\" alt=\"One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-520x674.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump. \u003ccite>(Courtesy of Lalo Alcaraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alcaraz has lived and worked in Los Angeles for years, but he grew up in San Diego regularly crossing the border. Alcaraz says his mother lived in Tijuana for 10 years and was originally undocumented when she immigrated to the United States.\u003c/p>\n\u003cp>“It completely shaped my outlook,” he says of his time living on the border. “I have that dual outlook of being a \u003cem>po\u003c/em>\u003cem>cho\u003c/em>, not being an American enough for the U.S. and not being Mexican enough for Mexico.”\u003c/p>\n\u003cp>In addition to his daily comic strip, Alcaraz also served as a contributing producer and writer on the 2016 Fox animated series “\u003ca href=\"http://www.fox.com/bordertown\" target=\"_blank\" rel=\"noopener\">Bordertown\u003c/a>” about the fictional border city of Mexifornia.\u003c/p>\n\u003cp>“Growing up on the border, we all make fun of immigration because it’s a way of coping with a strange reality,” he says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=etVt4TV_bIQ\u003c/p>\n\u003cp>While his humor has a new target — the Trump administration — the immigration topics like the border and immigrants taking American jobs have stayed more or less the same since he started 25 years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can take one of my old cartoons from the late ’80s or ’90s and just change the date and they would pretty much apply today,” he says. “I’m hoping it was just preparation to fight this hopefully one last time.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He says his family taught him the importance of seeing humor even in times of fear. “You have to laugh at your tragic life or else you’re going to be crying all day long,” he says.\u003c/p>\n\u003cfigure id=\"attachment_11342710\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11342710\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg\" alt=\"One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump.\" width=\"800\" height=\"1038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-800x1038.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-240x311.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-375x486.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/03/End-of-Times-Cartoon-520x674.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of several comics by Lalo Alcaraz focusing on the election of President Donald Trump. \u003ccite>(Courtesy of Lalo Alcaraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alcaraz has lived and worked in Los Angeles for years, but he grew up in San Diego regularly crossing the border. Alcaraz says his mother lived in Tijuana for 10 years and was originally undocumented when she immigrated to the United States.\u003c/p>\n\u003cp>“It completely shaped my outlook,” he says of his time living on the border. “I have that dual outlook of being a \u003cem>po\u003c/em>\u003cem>cho\u003c/em>, not being an American enough for the U.S. and not being Mexican enough for Mexico.”\u003c/p>\n\u003cp>In addition to his daily comic strip, Alcaraz also served as a contributing producer and writer on the 2016 Fox animated series “\u003ca href=\"http://www.fox.com/bordertown\" target=\"_blank\" rel=\"noopener\">Bordertown\u003c/a>” about the fictional border city of Mexifornia.\u003c/p>\n\u003cp>“Growing up on the border, we all make fun of immigration because it’s a way of coping with a strange reality,” he says.\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/etVt4TV_bIQ'\n title='//www.youtube.com/embed/etVt4TV_bIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While his humor has a new target — the Trump administration — the immigration topics like the border and immigrants taking American jobs have stayed more or less the same since he started 25 years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You can take one of my old cartoons from the late ’80s or ’90s and just change the date and they would pretty much apply today,” he says. “I’m hoping it was just preparation to fight this hopefully one last time.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nzzLdiI9eg\u003c/p>\n\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\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/9nzzLdiI9eg'\n title='//www.youtube.com/embed/9nzzLdiI9eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Schwarzenegger on 'Celebrity Apprentice': I Quit",
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"content": "\u003cp>Arnold Schwarzenegger said Friday that he’s through with \u003cem>The New Celebrity Apprentice\u003c/em>, and he’s blaming President Donald Trump for the television reality show’s recent poor performance.\u003c/p>\n\u003cp>The former California governor said he wouldn’t mind working with NBC and producer Mark Burnett again “on a show that doesn’t have this baggage.”\u003c/p>\n\u003cp>Schwarzenegger replaced the president as host of the show, but Trump remained as an executive producer. The president taunted Schwarzenegger for the show’s recent poor performance in the ratings, even mocking him during an address at the National Prayer Breakfast.\u003c/p>\n\u003cp>The show, which wrapped up its 15th season last month, averaged fewer than 5 million viewers per episode. That was lower than any other incarnation except for a 2010 Trump-hosted edition without celebrities, and the most poorly-rated edition among the youthful viewers NBC cares most about, the Nielsen company said.\u003c/p>\n\u003cp>Even if he were asked again, Schwarzenegger said he wouldn’t want to do it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With Trump being involved in the show people have a bad taste and don’t want to participate as a spectator or as a sponsor or in any other way support the show,” he said in an interview with the Empire web site. “It’s a very divisive period now and I think this show got caught up in all that division.”\u003c/p>\n\u003cp>After Schwarzenegger’s debut in January, Trump took to Twitter to report the show had been swamped “in comparison to the ratings machine, DJT” — using his initials.\u003c/p>\n\u003cp>Schwarzenegger shot back on social media that he hoped Trump would work for the American people as aggressively as he did for his ratings. The actor, like Trump a Republican, did not endorse Trump and said during last fall’s campaign that he would not vote for him.\u003c/p>\n\u003cp>When \u003cem>The New Celebrity Apprentice\u003c/em> ended its season last month, Trump tweeted that Schwarzenegger “did a really bad job as governor of California and even worse on \u003cem>The Apprentice\u003c/em>, but at least he tried hard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NBC had no immediate comment about whether the show would return with a new host.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arnold Schwarzenegger said Friday that he’s through with \u003cem>The New Celebrity Apprentice\u003c/em>, and he’s blaming President Donald Trump for the television reality show’s recent poor performance.\u003c/p>\n\u003cp>The former California governor said he wouldn’t mind working with NBC and producer Mark Burnett again “on a show that doesn’t have this baggage.”\u003c/p>\n\u003cp>Schwarzenegger replaced the president as host of the show, but Trump remained as an executive producer. The president taunted Schwarzenegger for the show’s recent poor performance in the ratings, even mocking him during an address at the National Prayer Breakfast.\u003c/p>\n\u003cp>The show, which wrapped up its 15th season last month, averaged fewer than 5 million viewers per episode. That was lower than any other incarnation except for a 2010 Trump-hosted edition without celebrities, and the most poorly-rated edition among the youthful viewers NBC cares most about, the Nielsen company said.\u003c/p>\n\u003cp>Even if he were asked again, Schwarzenegger said he wouldn’t want to do it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“With Trump being involved in the show people have a bad taste and don’t want to participate as a spectator or as a sponsor or in any other way support the show,” he said in an interview with the Empire web site. “It’s a very divisive period now and I think this show got caught up in all that division.”\u003c/p>\n\u003cp>After Schwarzenegger’s debut in January, Trump took to Twitter to report the show had been swamped “in comparison to the ratings machine, DJT” — using his initials.\u003c/p>\n\u003cp>Schwarzenegger shot back on social media that he hoped Trump would work for the American people as aggressively as he did for his ratings. The actor, like Trump a Republican, did not endorse Trump and said during last fall’s campaign that he would not vote for him.\u003c/p>\n\u003cp>When \u003cem>The New Celebrity Apprentice\u003c/em> ended its season last month, Trump tweeted that Schwarzenegger “did a really bad job as governor of California and even worse on \u003cem>The Apprentice\u003c/em>, but at least he tried hard.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NBC had no immediate comment about whether the show would return with a new host.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Amidst Cuts, Staff and Listeners Wonder: Will KCSM Keep Jazz Alive?",
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"content": "\u003cp>If you saw the Academy Award-winning \u003ca href=\"http://www.lalaland.movie/\" target=\"_blank\" rel=\"noopener\">\u003cem>La La Land\u003c/em>\u003c/a>, you watched as the character played by Ryan Gosling battled to start a jazz club at a time when the music is struggling to build audiences.\u003c/p>\n\u003cp>Now, San Mateo’s \u003ca href=\"https://kcsm.org/\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> Jazz 91 — one of the last 24-hour jazz stations in the United States — is trimming its live programming and cutting much of its part-time staff, citing budgetary reasons.\u003c/p>\n\u003cp>On March 1, KCSM started carrying prerecorded shows from a Chicago station between 10pm and six in the morning. But listeners got a hint of the changes Sunday evening, when part-time host Harry Duncan announced he was airing his last show.\u003c/p>\n\u003cp>“It’s a pretty dire situation,” said \u003ca href=\"https://kcsm.org/jazz91/announcer_bennett.php\" target=\"_blank\" rel=\"noopener\">Jim Bennett\u003c/a>, who hosted \u003cem>In the Moment,\u003c/em> a Thursday night show featuring music recorded live in Bay Area clubs. Bennett lost his job and airtime last week.\u003c/p>\n\u003cp>The \u003ca href=\"http://smccd.edu/\" target=\"_blank\" rel=\"noopener\">San Mateo Community College District\u003c/a> owns KCSM and provides substantial subsidies, including electricity.\u003c/p>\n\u003cfigure id=\"attachment_12843505\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/harry_duncan.jpg\" alt=\"Harry Duncan, DJ and music veteran who was let go from KCSM this week.\" width=\"630\" height=\"438\" class=\"size-full wp-image-12843505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-520x362.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Harry Duncan, DJ and music veteran who was let go from KCSM this week.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://kcsm.org/jazz91/announcer_pelletier.php\" target=\"_blank\" rel=\"noopener\">Ron Pelletier\u003c/a> is a part-timer who worked at the commercial jazz station KJAZ before it went off the air in 1994. He lost a Wednesday evening show in the change, and said station management gave conflicting reasons for why they were making the cuts. The main problem, management said, was that KCSM was running a deficit, even though Pelletier said the public radio station had often exceeded its fundraising goals over the past two years, and had contributed to a rainy day fund amounting to more than $1 million as a hedge against fiscal emergencies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pelletier and Bennett said they were also told that the station needed to enforce previously overlooked hiring policies barring short-term part-timers, and that the college district also wanted to involve students with the station.\u003c/p>\n\u003cp>“The sound and the identity of KCSM is being changed drastically,” Pelletier said, “no matter how you look at it.”\u003c/p>\n\u003cp>Mitchell Bailey, a spokesman for the college district, has yet to respond to phone or email requests for comment. But Bailey told the \u003cem>San Francisco Chronicle\u003c/em> that “Like all public broadcast stations that continue to struggle with the same issues, we want to decrease expenditures and increase revenue, and meet the needs of the listening audience.”\u003c/p>\n\u003cp>Part-time staff at the station sent an email on Thursday encouraging listeners to contact station management to offer donations and their support for jazz programming.\u003c/p>\n\u003cp>Pelletier said that many listeners were horrified when they learned of the changes earlier this week. “The phone would not stop ringing,” he said. Listeners were calling in saying “‘What can we do, what can we do? Oh, we don’t want to lose it.’” Pelletier said.\u003c/p>\n\u003cp>The station has about 200,000 listeners in the Bay Area, and streams digitally around the world.\u003c/p>\n\u003cp>Pelletier and Bennett fear the district may be considering selling the station — in a booming market, no less, with wireless companies \u003ca href=\"https://www.google.com/search?q=fcc%20fm%20auction&tbm=nws&*&rct=j\" target=\"_blank\" rel=\"noopener\">snapping up parts of the FM spectrum\u003c/a>. The college is selling its KCSM-TV license for $10 million, as part of a Federal Communications Commission auction.\u003c/p>\n\u003cp>Pelletier said he won’t participate in a scheduled May fundraising drive, because he doesn’t believe the station will continue broadcasting jazz, even with its reduced staff, past the end of the fiscal year on June 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you saw the Academy Award-winning \u003ca href=\"http://www.lalaland.movie/\" target=\"_blank\" rel=\"noopener\">\u003cem>La La Land\u003c/em>\u003c/a>, you watched as the character played by Ryan Gosling battled to start a jazz club at a time when the music is struggling to build audiences.\u003c/p>\n\u003cp>Now, San Mateo’s \u003ca href=\"https://kcsm.org/\" target=\"_blank\" rel=\"noopener\">KCSM\u003c/a> Jazz 91 — one of the last 24-hour jazz stations in the United States — is trimming its live programming and cutting much of its part-time staff, citing budgetary reasons.\u003c/p>\n\u003cp>On March 1, KCSM started carrying prerecorded shows from a Chicago station between 10pm and six in the morning. But listeners got a hint of the changes Sunday evening, when part-time host Harry Duncan announced he was airing his last show.\u003c/p>\n\u003cp>“It’s a pretty dire situation,” said \u003ca href=\"https://kcsm.org/jazz91/announcer_bennett.php\" target=\"_blank\" rel=\"noopener\">Jim Bennett\u003c/a>, who hosted \u003cem>In the Moment,\u003c/em> a Thursday night show featuring music recorded live in Bay Area clubs. Bennett lost his job and airtime last week.\u003c/p>\n\u003cp>The \u003ca href=\"http://smccd.edu/\" target=\"_blank\" rel=\"noopener\">San Mateo Community College District\u003c/a> owns KCSM and provides substantial subsidies, including electricity.\u003c/p>\n\u003cfigure id=\"attachment_12843505\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/harry_duncan.jpg\" alt=\"Harry Duncan, DJ and music veteran who was let go from KCSM this week.\" width=\"630\" height=\"438\" class=\"size-full wp-image-12843505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/harry_duncan-520x362.jpg 520w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Harry Duncan, DJ and music veteran who was let go from KCSM this week.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://kcsm.org/jazz91/announcer_pelletier.php\" target=\"_blank\" rel=\"noopener\">Ron Pelletier\u003c/a> is a part-timer who worked at the commercial jazz station KJAZ before it went off the air in 1994. He lost a Wednesday evening show in the change, and said station management gave conflicting reasons for why they were making the cuts. The main problem, management said, was that KCSM was running a deficit, even though Pelletier said the public radio station had often exceeded its fundraising goals over the past two years, and had contributed to a rainy day fund amounting to more than $1 million as a hedge against fiscal emergencies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pelletier and Bennett said they were also told that the station needed to enforce previously overlooked hiring policies barring short-term part-timers, and that the college district also wanted to involve students with the station.\u003c/p>\n\u003cp>“The sound and the identity of KCSM is being changed drastically,” Pelletier said, “no matter how you look at it.”\u003c/p>\n\u003cp>Mitchell Bailey, a spokesman for the college district, has yet to respond to phone or email requests for comment. But Bailey told the \u003cem>San Francisco Chronicle\u003c/em> that “Like all public broadcast stations that continue to struggle with the same issues, we want to decrease expenditures and increase revenue, and meet the needs of the listening audience.”\u003c/p>\n\u003cp>Part-time staff at the station sent an email on Thursday encouraging listeners to contact station management to offer donations and their support for jazz programming.\u003c/p>\n\u003cp>Pelletier said that many listeners were horrified when they learned of the changes earlier this week. “The phone would not stop ringing,” he said. Listeners were calling in saying “‘What can we do, what can we do? Oh, we don’t want to lose it.’” Pelletier said.\u003c/p>\n\u003cp>The station has about 200,000 listeners in the Bay Area, and streams digitally around the world.\u003c/p>\n\u003cp>Pelletier and Bennett fear the district may be considering selling the station — in a booming market, no less, with wireless companies \u003ca href=\"https://www.google.com/search?q=fcc%20fm%20auction&tbm=nws&*&rct=j\" target=\"_blank\" rel=\"noopener\">snapping up parts of the FM spectrum\u003c/a>. The college is selling its KCSM-TV license for $10 million, as part of a Federal Communications Commission auction.\u003c/p>\n\u003cp>Pelletier said he won’t participate in a scheduled May fundraising drive, because he doesn’t believe the station will continue broadcasting jazz, even with its reduced staff, past the end of the fiscal year on June 30.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Play About Roe v. Wade, Reimagining Laura Nyro, and Loving a Big Thief",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S1b1MDl6Kc8\u003c/p>\n\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YdaNlZhmHoM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9CibfyfjKLk\u003c/p>\n\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E9Yfildcwpg\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D0E5vMkDfOI\u003c/p>\n\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>Our quick shoutouts on the Do List this week are both free, so they’re \u003cstrong>CHEAP THRILLS\u003c/strong>, and we love that. David crowed about a show that pairs movie posters with the abstract paintings that might have inspired them at the \u003ca href=\"http://anderson.stanford.edu/exhibitions-programs/\" target=\"_blank\" rel=\"noopener\">Anderson Collection at Stanford\u003c/a>; KQED’s own Sarah Hotchkiss wrote about it \u003ca href=\"https://ww2.kqed.org/arts/2017/03/01/paintings-get-the-hollywood-treatment-in-student-curated-show-at-anderson/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> I’m excited about the San Francisco Conservatory of Music’s annual \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">Hot Air Music Festival\u003c/a>, featuring students and alumni ensembles (The Ignition Duo, Friction Quartet, and The Living Earth Show among them) performing music you just won’t hear anywhere else. Details for the all-day show, Sunday, March 5, at the SFCM are \u003ca href=\"https://sfcm.edu/events/hot-air-music-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/S1b1MDl6Kc8'\n title='//www.youtube.com/embed/S1b1MDl6Kc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 4\u003c/strong>: Laura Nyro wrote and performed some of the biggest hits of the late ’60s and early 70’s, including “Save the Country” and “Stoned Soul Picnic,” during a too, too short career — she died in 1997 of ovarian cancer. Now pianist Billy Childs has recorded a celebration of Nyro’s music with an all-star band (Shawn Colvin, Rickie Lee Jones, Becca Stevens, Renée Fleming, Yo-Yo Ma, Lisa Fischer, Alison Krauss, Susan Tedeschi, Wayne Shorter, Esperanza Spalding, and Dianne Reeves — wow), and he’s bringing the tribute show to San Francisco. Nyro, born Laura Nigro in the Bronx, combined gospel, pop, rock and jazz, with lyrics that were political, poetic, and sometimes whimsical. And for the local connection: her first major professional gig was at the age of 18 at San Francisco’s Hungry I coffeehouse. Details for Childs’ SF Performances concert Saturday night at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/BillyChilds.html\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YdaNlZhmHoM'\n title='//www.youtube.com/embed/YdaNlZhmHoM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s another tribute to a late singer-songwriter; this time it’s blueswoman Alberta Hunter (1895-1984). San Francisco’s \u003ca href=\"http://www.jewellegomez.com/\" target=\"_blank\" rel=\"noopener\">Jewelle Gomez \u003c/a>(\u003cem>Waiting for Giovanni) \u003c/em>has written \u003cem>Leaving the Blues\u003c/em>, a play about Hunter, her music, and her life as a lesbian artist, with a big focus on Hunter’s relationship with her partner Lottie Tyler. Hunter quit music for years to work as a nurse, then came out of retirement at the age of 82 and became more popular than ever. Gomez wrote the play with actress Desiree Rogers in mind for the lead, who often works with the LGBT-focused \u003ca href=\"http://www.nctcsf.org/\" target=\"_blank\" rel=\"noopener\">New Conservatory Theatre Center\u003c/a>. That’s where this show gets its world premiere. \u003ca href=\"http://www.nctcsf.org/shows/2016-17-Season/Leaving-the-Blues\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9CibfyfjKLk'\n title='//www.youtube.com/embed/9CibfyfjKLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 5:\u003c/strong> We’re featuring still another singer-songwriter now. Do you detect a theme? \u003ca href=\"http://gabrielkahane.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Gabriel Kahane \u003c/a>writes and plays tunes that are a blend of art song, pop, and cabaret, and he’s set Craigslist ads to music in a song cycle he’s calling \u003cem>Craigslistlieder\u003c/em>, including ditties like “Half a Box of Condoms.” Kahane comes by his love of this classic genre naturally: His dad is pianist and conductor \u003ca href=\"http://www.cmartists.com/artists/jeffrey-kahane.htm\" target=\"_blank\" rel=\"noopener\">Jeffrey Kahane\u003c/a> (formerly music director for the Santa Rosa Symphony), and son Gabriel is writing songs that somehow both celebrate and mock the old lieder tradition. At this week’s concert, Kahane also sings Schumann’s song cycle, “\u003ca href=\"https://www.youtube.com/watch?v=cor-5Cps3uU\" target=\"_blank\" rel=\"noopener\">Dichterliebe,\u003c/a>” which is just gorgeous, and selections from recent recordings. Details for Kahane’s Sunday concert at SFJAZZ \u003ca href=\"http://sfperformances.org/performances/1617/GabrielKahane.html\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/E9Yfildcwpg'\n title='//www.youtube.com/embed/E9Yfildcwpg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3–April 2\u003c/strong>: Here’s a play about \u003ca href=\"https://en.wikipedia.org/wiki/Roe_v._Wade\" target=\"_blank\" rel=\"noopener\">Roe v. Wade \u003c/a>that is not a courtroom drama. It’s a modern history play about the very complicated life of Sarah Weddington, the lawyer who successfully fought to make abortion legal; and the equally complicated life of her client Norma McCorvey, who died a few weeks ago, and who famously campaigned against abortion later in her life. Playwright Lisa Loomer says when she wrote the piece for its premiere at the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, she and her collaborators all assumed Hillary Clinton would now be president, and she says the show is all the more timely now that we’ve elected a president who’s pledged to appoint justices who will overturn Roe. In a recent interview, Loomer talked about how her own thinking about abortion changed as she wrote the play. “The awful thing about being a human being,” she said, “is that we have to make terrible choices. And the play made me very wary of people who would seek to make my choices seemingly easier than they are, or to tell me, you don’t need to choose, just do what I tell you to do.” There will be pre- and post-show discussions at many of the performances with people working on the issues of women’s health and reproductive rights. Details for Roe at the Berkeley Repertory Theater \u003ca href=\"https://www.berkeleyrep.org/season/1617/10665.asp\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D0E5vMkDfOI'\n title='//www.youtube.com/embed/D0E5vMkDfOI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 7\u003c/strong>: \u003ca href=\"http://www.bigthief.net/\" target=\"_blank\" rel=\"noopener\">Big Thief\u003c/a>’s new album is called \u003ca href=\"https://saddle-creek.com/products/masterpiece\" target=\"_blank\" rel=\"noopener\">\u003cem>Masterpiece\u003c/em>\u003c/a>, a title which takes a lot of guts when it’s also your first album as a band. But it’s darn good, with all the songs by vocalist and guitarist Adrianne Lenker (who spent time at the Berklee School of Music). She and Buck Meek are the core of the band, with Max Oleartchik on bass, and James Krivchenia on drums. The title track is pretty rocking, but other songs stray down indie folk and country roads in surprising ways. Catch them in a small club while you still can. Details for Big Thief’s gig at the Rickshaw Stop on Tuesday \u003ca href=\"http://www.rickshawstop.com/event/1400912-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thursday would have been Lou Reed’s 75th birthday. This morning, his widow, performance artist Laurie Anderson, marked the occasion by announcing that the New York Public Library for the Performing Arts will house Reed’s complete archives. The collection includes thousands of hours of video and audio recordings, Reed’s personal record collection and more than 300 boxes of papers, photos and other items spanning his six-decade career.\u003c/p>\n\u003cp>There’s a 1971 recording of Reed reading poetry. There’s a bill from the legendary New York bar Max’s Kansas City — Reed’s tab stood at $194.08. There’s also a birthday card of more recent vintage inscribed, “Dear Honey Bun, Love and Hugs, Mo” — as in Moe Tucker, The Velvet Underground’s drummer. But NYPL director Jonathan Hiam says it’s the business and legal records that have him excited: The contracts, licensing agreements, tour receipts, and other documents paint a detailed picture of how the music industry evolved.\u003c/p>\n\u003cp>“These kinds of documents are usually in the hands of a private enterprise still, and there’s usually no financial incentive to make them available to anybody,” Hiam says. “So if you’re doing research, this is really a boon.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5r998weOUiM\u003c/p>\n\u003cp>Later this year, library staff will begin the process of digitizing the thousands of hours of video and audio recordings. Music producer and archivist Don Fleming, who has been supervising the restoration, says the process has turned up a few gems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the things they found was a tape from the early ’60s, which seems to be Lou with one of his high school bands rehearsing for the variety show,” Fleming says. “And just following that [clip] is Lou playing Bob Dylan songs.”\u003c/p>\n\u003cp>Those recordings aren’t available yet for legal reasons. But once the issues have been worked out, the recordings — and everything else in the archive — will be available to anyone who visits the library. Laurie Anderson says that’s why she chose to put the archive there instead of a museum or academic institution.\u003c/p>\n\u003cp>“I really wanted it to not be deep in some vault where only people with white gloves can come. He was really democratic,” Anderson explains.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lqEoTN4BGPQ\u003c/p>\n\u003cp>Anderson says she hopes access to the archive will paint a more nuanced picture of Lou Reed than the tough guy in leather jacket and shades everyone knows.\u003c/p>\n\u003cp>“You realize everyone makes mistakes — everyone. Everyone loses their nerve — everyone. Everyone feels vulnerable and small. Take courage from that,” she says. “And that’s why I wanted this archive out: So everyone could see how hard it is to do that, and how determined he was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The New York Public Library will be hosting Reed-related events over the next several weeks. The complete archive — including those early demo recordings — should be available to the public later this year. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Reed%27s+Demos%2C+Papers+And+Record+Collection+Soon+To+Be+Public&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thursday would have been Lou Reed’s 75th birthday. This morning, his widow, performance artist Laurie Anderson, marked the occasion by announcing that the New York Public Library for the Performing Arts will house Reed’s complete archives. The collection includes thousands of hours of video and audio recordings, Reed’s personal record collection and more than 300 boxes of papers, photos and other items spanning his six-decade career.\u003c/p>\n\u003cp>There’s a 1971 recording of Reed reading poetry. There’s a bill from the legendary New York bar Max’s Kansas City — Reed’s tab stood at $194.08. There’s also a birthday card of more recent vintage inscribed, “Dear Honey Bun, Love and Hugs, Mo” — as in Moe Tucker, The Velvet Underground’s drummer. But NYPL director Jonathan Hiam says it’s the business and legal records that have him excited: The contracts, licensing agreements, tour receipts, and other documents paint a detailed picture of how the music industry evolved.\u003c/p>\n\u003cp>“These kinds of documents are usually in the hands of a private enterprise still, and there’s usually no financial incentive to make them available to anybody,” Hiam says. “So if you’re doing research, this is really a boon.”\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/5r998weOUiM'\n title='//www.youtube.com/embed/5r998weOUiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later this year, library staff will begin the process of digitizing the thousands of hours of video and audio recordings. Music producer and archivist Don Fleming, who has been supervising the restoration, says the process has turned up a few gems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the things they found was a tape from the early ’60s, which seems to be Lou with one of his high school bands rehearsing for the variety show,” Fleming says. “And just following that [clip] is Lou playing Bob Dylan songs.”\u003c/p>\n\u003cp>Those recordings aren’t available yet for legal reasons. But once the issues have been worked out, the recordings — and everything else in the archive — will be available to anyone who visits the library. Laurie Anderson says that’s why she chose to put the archive there instead of a museum or academic institution.\u003c/p>\n\u003cp>“I really wanted it to not be deep in some vault where only people with white gloves can come. He was really democratic,” Anderson explains.\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/lqEoTN4BGPQ'\n title='//www.youtube.com/embed/lqEoTN4BGPQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anderson says she hopes access to the archive will paint a more nuanced picture of Lou Reed than the tough guy in leather jacket and shades everyone knows.\u003c/p>\n\u003cp>“You realize everyone makes mistakes — everyone. Everyone loses their nerve — everyone. Everyone feels vulnerable and small. Take courage from that,” she says. “And that’s why I wanted this archive out: So everyone could see how hard it is to do that, and how determined he was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The New York Public Library will be hosting Reed-related events over the next several weeks. The complete archive — including those early demo recordings — should be available to the public later this year. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Reed%27s+Demos%2C+Papers+And+Record+Collection+Soon+To+Be+Public&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why We Should Sing ‘The Star-Spangled Banner's’ Obscure Fifth Verse",
"headTitle": "Why We Should Sing ‘The Star-Spangled Banner’s’ Obscure Fifth Verse | KQED",
"content": "\u003cp>When history professor Stephen Mucher attended a \u003ca href=\"https://vimeo.com/201517206\" target=\"_blank\" rel=\"noopener\">protest at Los Angeles International Airport\u003c/a> in the wake of President Trump’s immigration ban affecting seven Muslim-majority countries, he was pleasantly surprised when the crowd started singing the U.S. national anthem.\u003c/p>\n\u003cp>“We ended up breaking into song, and it suggests there’s some longing in us to claim this at a time where we feel our values are under attack,” says Mucher, who serves as the director of Bard College’s \u003ca href=\"http://www.bard.edu/mat/\" target=\"_blank\" rel=\"noopener\">Master of Arts in Teaching\u003c/a> program in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_12823119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-800x450.jpg\" alt=\"Stephen Mucher poses at KQED. The historian and director of the Bard College Master of Arts in Teaching program in Los Angeles believes Americans should sing the fifth verse of the national anthem.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Mucher poses at KQED. The historian and director of the Bard College Master of Arts in Teaching program in Los Angeles believes Americans should sing the fifth verse of the national anthem. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The experience in January inspired Mucher to reflect on the legacy of “The Star-Spangled Banner” and its relevance today. But instead of focusing on the first verse, whose lyrics, Mucher believes, say a lot about the flag but not a lot about the Constitution, the professor turned his attention to the fifth:\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: center\">\u003cem>“When our land is illum’d with Liberty’s smile,\u003c/em>\u003cbr>\n\u003cem> If a foe from within strike a blow at her glory,\u003c/em>\u003cbr>\n\u003cem> Down, down, with the traitor that dares to defile\u003c/em>\u003cbr>\n\u003cem> The flag of her stars and the page of her story!\u003c/em>\u003cbr>\n\u003cem> By the millions unchain’d who our birthright have gained\u003c/em>\u003cbr>\n\u003cem> We will keep her bright blazon forever unstained!\u003c/em>\u003cbr>\n\u003cem> And the Star-Spangled Banner in triumph shall wave\u003c/em>\u003cbr>\n\u003cem> While the land of the free is the home of the brave.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_12823121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12823121\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-800x513.jpg\" alt=\"Bay Area-based kora player and Afro-folk vocalist Zena Carlota can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based kora player and Afro-folk vocalist Zena Carlota can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>A stanza for a country divided\u003c/strong>\u003c/h3>\n\u003cp>Poet Oliver Wendell Holmes penned his fifth stanza in 1861 — 47 years after Francis Scott Key’s original verses — when the U.S. was in the grip of civil war. It circulated widely in the north during those years of conflict, but eventually retreated from public view. “He wrote that fifth verse, I believe, with real sorrow at what was happening to his country,” Mucher says. “The divisions we had in this country in 1861 are similar to what we have now.”\u003c/p>\n\u003cfigure id=\"attachment_12822921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12822921 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-800x451.jpeg\" alt=\"Portrait of poet Oliver Wendell Holmes Sr. in 1853. Eight years later, when the U.S. was in the grip of civil war, he would pen a fifth verse for ‘The Star-Spangled Banner’ which laments his country’s divided state looks forward to the emancipation of enslaved people.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-1020x575.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-1180x665.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-960x541.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488.jpeg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of poet Oliver Wendell Holmes Sr. in 1853. \u003ccite>(Photo: Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The country was of course actually at war back then. But Mucher believes this obscure stanza, written more than half a century after Francis Scott Key penned the other four, speaks more urgently than the first verse to the politically divisive times we live in today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311252151″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>\u003cstrong>Relevance in 2017\u003c/strong>\u003c/h3>\n\u003cp>Mucher says the fifth stanza feels hopeful because it looks forward to the emancipation of enslaved people — “the millions unchain’d.” “\u003cspan style=\"font-weight: 400\">And in doing so, it speaks not just to the ultimate enfranchisement of African Americans, but also to the notion that the birthright of citizenship in this country at its best moments has been continually extended to greater numbers of people,” Mucher says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12823118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12823118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-800x467.jpg\" alt=\"Operatic tenor Jimmy Kansau. The Bay Area-based, Venezuelan singer can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage.\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-1020x595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-1920x1121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-1180x689.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-520x304.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Operatic tenor Jimmy Kansau. The Bay Area-based, Venezuelan singer can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also believes it’s timely because it suggests foreign invaders may not be the greatest threat to this country’s sovereignty. “The verse references ‘the traitor within,’” Mucher says. “It demonstrates a concern that our principles, our Constitution are most under threat, at times, from within our own borders.”\u003c/p>\n\u003ch3>\u003cstrong>Malleable past, malleable future\u003c/strong>\u003c/h3>\n\u003cp>“The Star-Spangled Banner” started out, melodically speaking, as \u003ca href=\"https://www.youtube.com/watch?v=8KcHg5ZOIgU\" target=\"_blank\" rel=\"noopener\">a British drinking song\u003c/a> in the 18th century. It didn’t become the official U.S. national anthem until President Herbert Hoover signed the song into law on Mar. 3, 1931, making it 86 years old this week.\u003c/p>\n\u003cfigure id=\"attachment_12823120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12823120 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-800x450.jpg\" alt=\"Chloe, Rachel and Erika Tietjen of the T Sisters. The California-born, Oakland-based Americana trio can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe, Rachel and Erika Tietjen of the T Sisters. The California-born, Oakland-based Americana trio can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the song’s relatively short history as the national anthem, Mucher says it’s become so ubiquitous that he can’t imagine a world without “O Say Can You See.” He hopes the first and fifth verses might be sung at sports events and other occasions together, as a way for Americans to unite around the principles of the Constitution — and show both patriotism and resistance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read Stephen Mucher’s article about the fifth verse of the national anthem \u003ca href=\"https://medium.com/@smucher/how-to-sing-the-anthem-in-a-time-of-trump-b43d5da0228a#.3dbwwgc1h\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To find out more more about the artists featured in the video:\u003cbr>\n\u003c/em>\u003cem>\u003ca href=\"http://www.vpalowell.com/performing/choir/\" target=\"_blank\" rel=\"noopener\">Lowell High School Concert Choir\u003c/a> (dir. Jason Chan)\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"http://tsisters.com/\" target=\"_blank\" rel=\"noopener\">The T Sisters\u003c/a>\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"https://www.facebook.com/jkansau\" target=\"_blank\" rel=\"noopener\">Jimmy Kansau\u003c/a>\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"https://www.zenacarlota.com/\" target=\"_blank\" rel=\"noopener\">Zena Carlota\u003c/a> (watch KQED’s video about Carlota \u003ca href=\"https://ww2.kqed.org/arts/2016/04/06/history-and-imagination-drive-singer-zena-carlotas-afro-folk-sound/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/em>\u003c/p>\n\n",
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"excerpt": "History professor Stephen Mucher makes a case for the importance of Oliver Wendell Holmes' verse, penned 50 years after Francis Scott Key wrote the others, as a way for Americans to unite around the principles of the Constitution.",
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"description": "History professor Stephen Mucher makes a case for the importance of Oliver Wendell Holmes' verse, penned 50 years after Francis Scott Key wrote the others, as a way for Americans to unite around the principles of the Constitution.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When history professor Stephen Mucher attended a \u003ca href=\"https://vimeo.com/201517206\" target=\"_blank\" rel=\"noopener\">protest at Los Angeles International Airport\u003c/a> in the wake of President Trump’s immigration ban affecting seven Muslim-majority countries, he was pleasantly surprised when the crowd started singing the U.S. national anthem.\u003c/p>\n\u003cp>“We ended up breaking into song, and it suggests there’s some longing in us to claim this at a time where we feel our values are under attack,” says Mucher, who serves as the director of Bard College’s \u003ca href=\"http://www.bard.edu/mat/\" target=\"_blank\" rel=\"noopener\">Master of Arts in Teaching\u003c/a> program in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_12823119\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12823119\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-800x450.jpg\" alt=\"Stephen Mucher poses at KQED. The historian and director of the Bard College Master of Arts in Teaching program in Los Angeles believes Americans should sing the fifth verse of the national anthem.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Stephen-Mucher-e1488155379157.jpg 1991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Mucher poses at KQED. The historian and director of the Bard College Master of Arts in Teaching program in Los Angeles believes Americans should sing the fifth verse of the national anthem. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The experience in January inspired Mucher to reflect on the legacy of “The Star-Spangled Banner” and its relevance today. But instead of focusing on the first verse, whose lyrics, Mucher believes, say a lot about the flag but not a lot about the Constitution, the professor turned his attention to the fifth:\u003c/p>\n\u003cblockquote>\n\u003cp style=\"text-align: center\">\u003cem>“When our land is illum’d with Liberty’s smile,\u003c/em>\u003cbr>\n\u003cem> If a foe from within strike a blow at her glory,\u003c/em>\u003cbr>\n\u003cem> Down, down, with the traitor that dares to defile\u003c/em>\u003cbr>\n\u003cem> The flag of her stars and the page of her story!\u003c/em>\u003cbr>\n\u003cem> By the millions unchain’d who our birthright have gained\u003c/em>\u003cbr>\n\u003cem> We will keep her bright blazon forever unstained!\u003c/em>\u003cbr>\n\u003cem> And the Star-Spangled Banner in triumph shall wave\u003c/em>\u003cbr>\n\u003cem> While the land of the free is the home of the brave.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_12823121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12823121\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-800x513.jpg\" alt=\"Bay Area-based kora player and Afro-folk vocalist Zena Carlota can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-1020x654.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Zena-Carlota-e1488155758528.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area-based kora player and Afro-folk vocalist Zena Carlota can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>A stanza for a country divided\u003c/strong>\u003c/h3>\n\u003cp>Poet Oliver Wendell Holmes penned his fifth stanza in 1861 — 47 years after Francis Scott Key’s original verses — when the U.S. was in the grip of civil war. It circulated widely in the north during those years of conflict, but eventually retreated from public view. “He wrote that fifth verse, I believe, with real sorrow at what was happening to his country,” Mucher says. “The divisions we had in this country in 1861 are similar to what we have now.”\u003c/p>\n\u003cfigure id=\"attachment_12822921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12822921 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-800x451.jpeg\" alt=\"Portrait of poet Oliver Wendell Holmes Sr. in 1853. Eight years later, when the U.S. was in the grip of civil war, he would pen a fifth verse for ‘The Star-Spangled Banner’ which laments his country’s divided state looks forward to the emancipation of enslaved people.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-800x451.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-768x433.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-1020x575.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-1180x665.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-960x541.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488-520x293.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Oliver_Wendell_Holmes_Sr_daguerreotype-e1488154391488.jpeg 1498w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portrait of poet Oliver Wendell Holmes Sr. in 1853. \u003ccite>(Photo: Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The country was of course actually at war back then. But Mucher believes this obscure stanza, written more than half a century after Francis Scott Key penned the other four, speaks more urgently than the first verse to the politically divisive times we live in today.\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>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311252151″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311252151″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>\u003cstrong>Relevance in 2017\u003c/strong>\u003c/h3>\n\u003cp>Mucher says the fifth stanza feels hopeful because it looks forward to the emancipation of enslaved people — “the millions unchain’d.” “\u003cspan style=\"font-weight: 400\">And in doing so, it speaks not just to the ultimate enfranchisement of African Americans, but also to the notion that the birthright of citizenship in this country at its best moments has been continually extended to greater numbers of people,” Mucher says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12823118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12823118\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-800x467.jpg\" alt=\"Operatic tenor Jimmy Kansau. The Bay Area-based, Venezuelan singer can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage.\" width=\"800\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-800x467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-768x448.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-1020x595.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-1920x1121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-1180x689.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-960x560.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299-520x304.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Jimmy-Kansau-e1488155055299.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Operatic tenor Jimmy Kansau. The Bay Area-based, Venezuelan singer can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also believes it’s timely because it suggests foreign invaders may not be the greatest threat to this country’s sovereignty. “The verse references ‘the traitor within,’” Mucher says. “It demonstrates a concern that our principles, our Constitution are most under threat, at times, from within our own borders.”\u003c/p>\n\u003ch3>\u003cstrong>Malleable past, malleable future\u003c/strong>\u003c/h3>\n\u003cp>“The Star-Spangled Banner” started out, melodically speaking, as \u003ca href=\"https://www.youtube.com/watch?v=8KcHg5ZOIgU\" target=\"_blank\" rel=\"noopener\">a British drinking song\u003c/a> in the 18th century. It didn’t become the official U.S. national anthem until President Herbert Hoover signed the song into law on Mar. 3, 1931, making it 86 years old this week.\u003c/p>\n\u003cfigure id=\"attachment_12823120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12823120 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-800x450.jpg\" alt=\"Chloe, Rachel and Erika Tietjen of the T Sisters. The California-born, Oakland-based Americana trio can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/T-Sisters-e1488155610729.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chloe, Rachel and Erika Tietjen of the T Sisters. The California-born, Oakland-based Americana trio can be heard singing the fifth verse of the national anthem in KQED Arts’ video collage. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet despite the song’s relatively short history as the national anthem, Mucher says it’s become so ubiquitous that he can’t imagine a world without “O Say Can You See.” He hopes the first and fifth verses might be sung at sports events and other occasions together, as a way for Americans to unite around the principles of the Constitution — and show both patriotism and resistance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read Stephen Mucher’s article about the fifth verse of the national anthem \u003ca href=\"https://medium.com/@smucher/how-to-sing-the-anthem-in-a-time-of-trump-b43d5da0228a#.3dbwwgc1h\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>To find out more more about the artists featured in the video:\u003cbr>\n\u003c/em>\u003cem>\u003ca href=\"http://www.vpalowell.com/performing/choir/\" target=\"_blank\" rel=\"noopener\">Lowell High School Concert Choir\u003c/a> (dir. Jason Chan)\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"http://tsisters.com/\" target=\"_blank\" rel=\"noopener\">The T Sisters\u003c/a>\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"https://www.facebook.com/jkansau\" target=\"_blank\" rel=\"noopener\">Jimmy Kansau\u003c/a>\u003c/em>\u003cbr>\n\u003cem> \u003ca href=\"https://www.zenacarlota.com/\" target=\"_blank\" rel=\"noopener\">Zena Carlota\u003c/a> (watch KQED’s video about Carlota \u003ca href=\"https://ww2.kqed.org/arts/2016/04/06/history-and-imagination-drive-singer-zena-carlotas-afro-folk-sound/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An image of Woody Guthrie lit up the Oklahoma Capitol, but the state doesn’t want the unauthorized artwork coming back.\u003c/p>\n\u003cp>Oklahoma City artist Jack Fowler says he projected an image of the folk singer Monday night onto tarps covering construction work in an effort to get people to “shake up the powers that be.” Guthrie was born in Okemah, Oklahoma, and influenced singers including Bob Dylan and Bruce Springsteen.\u003c/p>\n\u003cp>Fowler said Tuesday he believes the “This Land Is Your Land” singer would be appalled that state lawmakers are considering taxing “car washes and funerals” at the same time another proposal would eliminate corporate income taxes.\u003c/p>\n\u003cp>Oklahoma’s agency that manages property said in a statement the projection is prohibited due to safety concerns for crews working on a Capitol restoration project.\u003c/p>\n\u003cp>https://www.facebook.com/jack.fowler.739/posts/10209996820050221\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An image of Woody Guthrie lit up the Oklahoma Capitol, but the state doesn’t want the unauthorized artwork coming back.\u003c/p>\n\u003cp>Oklahoma City artist Jack Fowler says he projected an image of the folk singer Monday night onto tarps covering construction work in an effort to get people to “shake up the powers that be.” Guthrie was born in Okemah, Oklahoma, and influenced singers including Bob Dylan and Bruce Springsteen.\u003c/p>\n\u003cp>Fowler said Tuesday he believes the “This Land Is Your Land” singer would be appalled that state lawmakers are considering taxing “car washes and funerals” at the same time another proposal would eliminate corporate income taxes.\u003c/p>\n\u003cp>Oklahoma’s agency that manages property said in a statement the projection is prohibited due to safety concerns for crews working on a Capitol restoration project.\u003c/p>\n\u003cp>https://www.facebook.com/jack.fowler.739/posts/10209996820050221\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>How much comedy can San Francisco handle? Apparently a lot, as it will be hosting another festival in June.\u003c/p>\n\u003cp>Comedy Central and Superfly, the company behind Outside Lands, teamed up to bring the Colossal Clusterfest to the Bay Area on June 2-4. \u003c/p>\n\u003cp>The Clusterfest will feature what’s described as a “jam-packed, multiformat festival experience” covering a wide spectrum of the comedy genre (standup, sketch, podcast, digital) as well as comedy-themed music and food, the co-producers announced Tuesday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RS7ON86KzkY\u003c/p>\n\u003cp>Jerry Seinfeld, Kevin Hart and Bill Burr are scheduled to headline, with others on the bill to include Fred Armisen, Ice Cube, Hannibal Buress, Sarah Silverman & Friends, Chris Hardwick, \u003cem>Broad City\u003c/em> co-stars Abbi Jacobson and Ilana Glazer, Bob Odenkirk, Tig Notaro, Reggie Watts and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Comedy Central has been involved with different comedy festivals along the way, but in a more limited capacity,” said network president Kent Alterman in an interview. “This time, we wanted to create a comedy-driven event that allows us to connect directly with our fans.”\u003c/p>\n\u003cp>In contrast to other comedy festivals, which Alterman said are typically scheduled in “disparate kinds of venues at disparate locations, we will offer a centralized communal experience.”\u003c/p>\n\u003cp>That centralized location is the San Francisco Civic Center Plaza and Bill Graham Civic Auditorium, where performers will be seen on five indoor and outdoor stages.\u003c/p>\n\u003cp>“The single site will really lend itself to discovery,” said Superfly co-founder Jonathan Mayers. “You may be coming for Jerry or Kevin, but you’re bound to stumble on other, emerging talent.”\u003cbr>\nMayers identified his company’s core mission as “bringing people together around their common interest.”\u003c/p>\n\u003cp>San Francisco has quite the history with comedy, being the training grounds for numerous popular stand-ups, starting with pioneers like Lenny Bruce and Robin Williams, to Ellen Degeneres, Margaret Cho and Ali Wong. It also hosts other comedy festivals, most notably SF Sketchfest, which just celebrated its 16th year, and is primarily sketch and improv comedy but includes standup and podcasts as well.\u003c/p>\n\u003cp>Prices for the Clusterfest range from $199 to $250, with VIP tickets (providing special viewing areas and other benefits) priced at $600. Tickets go on sale Thursday at clusterfest.com.\u003c/p>\n\u003cp>But for those who can’t make it in person, Comedy Central plans a live 90-minute special to be aired June 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press also contributed to this report\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How much comedy can San Francisco handle? Apparently a lot, as it will be hosting another festival in June.\u003c/p>\n\u003cp>Comedy Central and Superfly, the company behind Outside Lands, teamed up to bring the Colossal Clusterfest to the Bay Area on June 2-4. \u003c/p>\n\u003cp>The Clusterfest will feature what’s described as a “jam-packed, multiformat festival experience” covering a wide spectrum of the comedy genre (standup, sketch, podcast, digital) as well as comedy-themed music and food, the co-producers announced Tuesday.\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/RS7ON86KzkY'\n title='//www.youtube.com/embed/RS7ON86KzkY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jerry Seinfeld, Kevin Hart and Bill Burr are scheduled to headline, with others on the bill to include Fred Armisen, Ice Cube, Hannibal Buress, Sarah Silverman & Friends, Chris Hardwick, \u003cem>Broad City\u003c/em> co-stars Abbi Jacobson and Ilana Glazer, Bob Odenkirk, Tig Notaro, Reggie Watts and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Comedy Central has been involved with different comedy festivals along the way, but in a more limited capacity,” said network president Kent Alterman in an interview. “This time, we wanted to create a comedy-driven event that allows us to connect directly with our fans.”\u003c/p>\n\u003cp>In contrast to other comedy festivals, which Alterman said are typically scheduled in “disparate kinds of venues at disparate locations, we will offer a centralized communal experience.”\u003c/p>\n\u003cp>That centralized location is the San Francisco Civic Center Plaza and Bill Graham Civic Auditorium, where performers will be seen on five indoor and outdoor stages.\u003c/p>\n\u003cp>“The single site will really lend itself to discovery,” said Superfly co-founder Jonathan Mayers. “You may be coming for Jerry or Kevin, but you’re bound to stumble on other, emerging talent.”\u003cbr>\nMayers identified his company’s core mission as “bringing people together around their common interest.”\u003c/p>\n\u003cp>San Francisco has quite the history with comedy, being the training grounds for numerous popular stand-ups, starting with pioneers like Lenny Bruce and Robin Williams, to Ellen Degeneres, Margaret Cho and Ali Wong. It also hosts other comedy festivals, most notably SF Sketchfest, which just celebrated its 16th year, and is primarily sketch and improv comedy but includes standup and podcasts as well.\u003c/p>\n\u003cp>Prices for the Clusterfest range from $199 to $250, with VIP tickets (providing special viewing areas and other benefits) priced at $600. Tickets go on sale Thursday at clusterfest.com.\u003c/p>\n\u003cp>But for those who can’t make it in person, Comedy Central plans a live 90-minute special to be aired June 4.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Associated Press also contributed to this report\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi",
"headTitle": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi | KQED",
"content": "\u003cp>\u003cem>Editor’s note: The authors of this post, Peter Kolovos and Steve Lowenthal, worked closely with Hideo Ikeezumi in his final years, with Kolovos purchasing most of the impressive catalog of music he had released and reissuing that catalog through his U.S.-based \u003ca href=\"http://www.theblackeditions.com/\">Black Editions\u003c/a>. Below, they share a remembrance of the man as well as a cross-sectional playlist, complete with “liner notes,” compiled from the vast catalog of strange, lovely sounds that Mr. Ikeezumi dedicated himself to.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Over nearly forty years Hideo Ikeezumi, the Japanese founder of the infamous record label P.S.F. who died early this week at the age of 67, was a champion of his country’s always-vibrant underground scene, introducing the world to some of the most distinct and uncompromising music ever created in Japan.\u003c/p>\n\u003cp>Ikeezumi was born in 1949 in Tokyo, starting his career in music as a buyer for large record store chain Gobangai. Eventually, he became frustrated at the lack of diversity and far-out sounds that the chain would allow to be stocked. To remedy that cultural blind spot he founded the store Modern Music in the early ’80s in Tokyo, stocking the music he cared most about — free jazz, avant-garde, psychedelic rock and other hard-to-find-at-the-time genres. Quickly, his shop became a focal point for adventurous Japanese musicians.\u003c/p>\n\u003cp>Ikeezumi launched P.S.F. records several years later, in 1984, with the release of the aptly titled \u003cem>Psychedelic Speed Freaks\u003c/em>, the debut album of Tokyo band High Rise, which became a titular acronym and shorthand for the new label (its name was, in fact, somewhat amorphous). Works followed soon by iconic Japanese artists such as Keiji Haino, Ghost, Kaoru Abe, White Heaven, Che SHIZU, Shizuka and many others; the label would eventually release over 240 albums. And, across nearly ten volumes, P.S.F.’s seminal \u003cem>Tokyo Flashback\u003c/em> compilations provided wide-ranging introductions to the curious and helped to expand the label beyond its Tokyo base. To further document and explore the music he was working with, Ikeezumi also sporadically published the magazine \u003cem>G-Modern\u003c/em>.\u003c/p>\n\u003cp>Though Modern Music closed in 2014, Ikeezumi continued his work with the label, even as his deteriorating health began to slow his days. In recent years, he reached an agreement [with Kolovos and Lowenthal], through Black Editions, to reissue the P.S.F. catalog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mr. Ikeezumi was a truly visionary man; he had a remarkable ear and an ability to identify truly new and exciting currents in music. He championed and brought first light to many artists that have gone on to have long and distinguished lives in music. Against great odds and out of nothing more than a love of the music, he greatly expanded the world he lived in… to include us.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/309922952″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“My Cold Dimension” — White Heaven\u003c/strong>\u003c/p>\n\u003cp>White Heaven deliver wild blasts of wah-pedal-drenched coolness, with English lyrics and a more structured form than some of their P.S.F. labelmates. The undeniable chemistry between guitarists Ken Isihara and Michio Kurihara remain among the most unforgettable and revered of the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“The End of Dawn” — Kousokuya\u003c/strong>\u003c/p>\n\u003cp>One of the great bands of the late-’70s Japanese psychedelic underground scene was Kousokuya, formed by Jutok Kaneko. The band’s heavy, dark take on psychedelic rock music remains a mystery all its own. This track is taken from the debut P.S.F. compilation\u003cem> Tokyo Flashback\u003c/em>, from 1991.\u003c/p>\n\u003cp>\u003cstrong>“Will It Fall?” Keiji Haino\u003c/strong>\u003c/p>\n\u003cp>Haino’s solo work is just as essential to the P.S.F. catalog as Fushitsusha, but reveals entirely new depths. This track from his 2002 P.S.F. album \u003cem>To Start Let’s Remove The Color\u003c/em> offers gorgeous excursions in solo guitar and voice, providing a more meditative and solemnly barren landscape.\u003c/p>\n\u003cp>\u003cstrong>“Rotten Telepathies” — Michio Kadotani \u003c/strong>\u003c/p>\n\u003cp>A lost rebel of the Japanese underground, Kadotani was a prolific songwriter whose wild home recordings from the early ’80s mirror his intense manic depression, which eventually led to his early demise. This track is taken from a posthumous collection of his recordings and is stunning in it’s simultaneously futuristic vision and rough technique.\u003c/p>\n\u003cp>\u003cstrong>“Cosmic Audrey, Acid Takion” — Acid Mothers Temple\u003c/strong>\u003c/p>\n\u003cp>Kawabata Mikoto had been a member of seminal groups such as Mainliner and Toho Sara, but is best known for this long-running, far touring band. Acid Mothers live up to their name with wild freak-outs evolving from late ’60s and ’70s-inspired rock and drone. This track is from their 1999 P.S.F. album \u003cem>Pataphisical Freak Out MU!!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“1/21/1972 Alto 1” — Kaoru Abe\u003c/strong>\u003c/p>\n\u003cp>The music of Kaoru Abe provided an early inspiration for P.S.F. Abe played with a fiery intensity that rivaled Albert Ayler at his peak. This is music that lives on the edge and an early example of Japanese “free underground” music.\u003c/p>\n\u003cp>\u003cstrong>“Up The Chimney” — Kan Mikami\u003c/strong>\u003c/p>\n\u003cp>Mikami was an outsider folk singer in the ’60s , whose delivery and songwriting were more intense and deeply poetic than his more pop-oriented peers. P.S.F. recognized Mikami’s unique brilliance and invited him to record a series of LPs and collaborations for the label. This track is from his 1991 P.S.F. album \u003cem>I’m The Only One Around\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>“Crystal Wings” — Shizuka\u003c/strong>\u003c/p>\n\u003cp>A quiet sadness envelops the music of Shizuka, whose ballads ache with beauty. Their sole studio album,\u003cem> Heaven’s Personae\u003c/em>, features some of the most straightforward — yet equally magical — music within the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“Juso Station” — Ché-SHIZU\u003c/strong>\u003c/p>\n\u003cp>Led by legendary improvisor Chie Mukai, Ché-SHIZU is an exploratory dream psychedelia featuring Mukai on vocals on er-hu, a violin-like instrument designed to mimic the human voice. This track, from their 1994 studio album \u003cem>A Journey\u003c/em>, shows a lighter side of the P.S.F. aesthetic, though just as deeply intense and profound.\u003c/p>\n\u003cp>\u003cstrong>“Untitled (Track 3)” — Fushitsusha\u003c/strong>\u003c/p>\n\u003cp>Led by Keiji Haino, this long-running group is a pioneering symbol of the P.S.F. aesthetic, tearing down all boundaries of conventional rock music and finding new limits to traditional instrumentation. While at first it may seem impenetrable, there is an undeniable logic and intent to Haino’s music that reveals itself to those who listen closely enough.\u003c/p>\n\u003cp>\u003cstrong>“Wipe Out” — High Rise\u003c/strong>\u003c/p>\n\u003cp>As a premier act on the P.S.F. label, High Rise are among the legends of 20th Century Japanese underground music. Led by Nanjo Asahita on fuzz bass and Narita Munehiro on electric guitar, this track is off their classic second album \u003cem>High Rise II\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Psychedelic+Speed+Freak%3A+Remembering+The+Blistering+Experimentalism+Of+Hideo+Ikeezumi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: The authors of this post, Peter Kolovos and Steve Lowenthal, worked closely with Hideo Ikeezumi in his final years, with Kolovos purchasing most of the impressive catalog of music he had released and reissuing that catalog through his U.S.-based \u003ca href=\"http://www.theblackeditions.com/\">Black Editions\u003c/a>. Below, they share a remembrance of the man as well as a cross-sectional playlist, complete with “liner notes,” compiled from the vast catalog of strange, lovely sounds that Mr. Ikeezumi dedicated himself to.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Over nearly forty years Hideo Ikeezumi, the Japanese founder of the infamous record label P.S.F. who died early this week at the age of 67, was a champion of his country’s always-vibrant underground scene, introducing the world to some of the most distinct and uncompromising music ever created in Japan.\u003c/p>\n\u003cp>Ikeezumi was born in 1949 in Tokyo, starting his career in music as a buyer for large record store chain Gobangai. Eventually, he became frustrated at the lack of diversity and far-out sounds that the chain would allow to be stocked. To remedy that cultural blind spot he founded the store Modern Music in the early ’80s in Tokyo, stocking the music he cared most about — free jazz, avant-garde, psychedelic rock and other hard-to-find-at-the-time genres. Quickly, his shop became a focal point for adventurous Japanese musicians.\u003c/p>\n\u003cp>Ikeezumi launched P.S.F. records several years later, in 1984, with the release of the aptly titled \u003cem>Psychedelic Speed Freaks\u003c/em>, the debut album of Tokyo band High Rise, which became a titular acronym and shorthand for the new label (its name was, in fact, somewhat amorphous). Works followed soon by iconic Japanese artists such as Keiji Haino, Ghost, Kaoru Abe, White Heaven, Che SHIZU, Shizuka and many others; the label would eventually release over 240 albums. And, across nearly ten volumes, P.S.F.’s seminal \u003cem>Tokyo Flashback\u003c/em> compilations provided wide-ranging introductions to the curious and helped to expand the label beyond its Tokyo base. To further document and explore the music he was working with, Ikeezumi also sporadically published the magazine \u003cem>G-Modern\u003c/em>.\u003c/p>\n\u003cp>Though Modern Music closed in 2014, Ikeezumi continued his work with the label, even as his deteriorating health began to slow his days. In recent years, he reached an agreement [with Kolovos and Lowenthal], through Black Editions, to reissue the P.S.F. catalog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mr. Ikeezumi was a truly visionary man; he had a remarkable ear and an ability to identify truly new and exciting currents in music. He championed and brought first light to many artists that have gone on to have long and distinguished lives in music. Against great odds and out of nothing more than a love of the music, he greatly expanded the world he lived in… to include us.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/309922952″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/309922952″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“My Cold Dimension” — White Heaven\u003c/strong>\u003c/p>\n\u003cp>White Heaven deliver wild blasts of wah-pedal-drenched coolness, with English lyrics and a more structured form than some of their P.S.F. labelmates. The undeniable chemistry between guitarists Ken Isihara and Michio Kurihara remain among the most unforgettable and revered of the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“The End of Dawn” — Kousokuya\u003c/strong>\u003c/p>\n\u003cp>One of the great bands of the late-’70s Japanese psychedelic underground scene was Kousokuya, formed by Jutok Kaneko. The band’s heavy, dark take on psychedelic rock music remains a mystery all its own. This track is taken from the debut P.S.F. compilation\u003cem> Tokyo Flashback\u003c/em>, from 1991.\u003c/p>\n\u003cp>\u003cstrong>“Will It Fall?” Keiji Haino\u003c/strong>\u003c/p>\n\u003cp>Haino’s solo work is just as essential to the P.S.F. catalog as Fushitsusha, but reveals entirely new depths. This track from his 2002 P.S.F. album \u003cem>To Start Let’s Remove The Color\u003c/em> offers gorgeous excursions in solo guitar and voice, providing a more meditative and solemnly barren landscape.\u003c/p>\n\u003cp>\u003cstrong>“Rotten Telepathies” — Michio Kadotani \u003c/strong>\u003c/p>\n\u003cp>A lost rebel of the Japanese underground, Kadotani was a prolific songwriter whose wild home recordings from the early ’80s mirror his intense manic depression, which eventually led to his early demise. This track is taken from a posthumous collection of his recordings and is stunning in it’s simultaneously futuristic vision and rough technique.\u003c/p>\n\u003cp>\u003cstrong>“Cosmic Audrey, Acid Takion” — Acid Mothers Temple\u003c/strong>\u003c/p>\n\u003cp>Kawabata Mikoto had been a member of seminal groups such as Mainliner and Toho Sara, but is best known for this long-running, far touring band. Acid Mothers live up to their name with wild freak-outs evolving from late ’60s and ’70s-inspired rock and drone. This track is from their 1999 P.S.F. album \u003cem>Pataphisical Freak Out MU!!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“1/21/1972 Alto 1” — Kaoru Abe\u003c/strong>\u003c/p>\n\u003cp>The music of Kaoru Abe provided an early inspiration for P.S.F. Abe played with a fiery intensity that rivaled Albert Ayler at his peak. This is music that lives on the edge and an early example of Japanese “free underground” music.\u003c/p>\n\u003cp>\u003cstrong>“Up The Chimney” — Kan Mikami\u003c/strong>\u003c/p>\n\u003cp>Mikami was an outsider folk singer in the ’60s , whose delivery and songwriting were more intense and deeply poetic than his more pop-oriented peers. P.S.F. recognized Mikami’s unique brilliance and invited him to record a series of LPs and collaborations for the label. This track is from his 1991 P.S.F. album \u003cem>I’m The Only One Around\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>“Crystal Wings” — Shizuka\u003c/strong>\u003c/p>\n\u003cp>A quiet sadness envelops the music of Shizuka, whose ballads ache with beauty. Their sole studio album,\u003cem> Heaven’s Personae\u003c/em>, features some of the most straightforward — yet equally magical — music within the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“Juso Station” — Ché-SHIZU\u003c/strong>\u003c/p>\n\u003cp>Led by legendary improvisor Chie Mukai, Ché-SHIZU is an exploratory dream psychedelia featuring Mukai on vocals on er-hu, a violin-like instrument designed to mimic the human voice. This track, from their 1994 studio album \u003cem>A Journey\u003c/em>, shows a lighter side of the P.S.F. aesthetic, though just as deeply intense and profound.\u003c/p>\n\u003cp>\u003cstrong>“Untitled (Track 3)” — Fushitsusha\u003c/strong>\u003c/p>\n\u003cp>Led by Keiji Haino, this long-running group is a pioneering symbol of the P.S.F. aesthetic, tearing down all boundaries of conventional rock music and finding new limits to traditional instrumentation. While at first it may seem impenetrable, there is an undeniable logic and intent to Haino’s music that reveals itself to those who listen closely enough.\u003c/p>\n\u003cp>\u003cstrong>“Wipe Out” — High Rise\u003c/strong>\u003c/p>\n\u003cp>As a premier act on the P.S.F. label, High Rise are among the legends of 20th Century Japanese underground music. Led by Nanjo Asahita on fuzz bass and Narita Munehiro on electric guitar, this track is off their classic second album \u003cem>High Rise II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The opportunity to speak to someone who has made the world a better place doesn’t come often, so talking to Cleve Jones shouldn’t be taken lightly. \u003c/p>\n\u003cp>[contextly_sidebar id=”hzRO1k937mMLvDG2s5pPhRXwWOVOMqnC”]\u003c/p>\n\u003cp>For most of his life, Jones has worked for “the Movement,” a summation of all the various causes he’s taken up over his decades of political activism. As a teenager, he worked with the United Farm Workers, and after moving to San Francisco in the ’70s, he fought for causes such as gay rights, AIDS research and, for the past decade, labor rights. But he’ll always be known for two things: working with Harvey Milk, the nation’s first openly gay politician, and for conceiving the AIDS Memorial Quilt, credited with breaking the country’s hard exterior regarding the mortal devastation caused by the disease. \u003c/p>\n\u003cp>Jones’s resume reads like a textbook on the history of human rights in America, which is probably why he wrote a memoir. Published last year, \u003cem>When We Rise: My Life in the Movement\u003c/em> has Jones telling tales from his life as an activist, going all the way up to his work with \u003ca href=\"http://unitehere.org/\" target=\"_blank\" rel=\"noopener\">UNITE HERE\u003c/a>. His friend, Oscar-winning screenwriter Dustin Lance Black (\u003ci>Milk\u003c/i>), then took much of Jones’s story and used it for the upcoming ABC four-part mini-series, also called \u003ci>When We Rise.\u003c/i> Before its broadcast this week, I spoke with Jones about his life in San Francisco and what he’s learned about the power of political movements.\u003c/p>\n\u003cfigure id=\"attachment_12827969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-800x449.jpg\" alt=\"Cleve Jones speaks outside the Supreme Court in June 2013\" width=\"800\" height=\"449\" class=\"size-medium wp-image-12827969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cleve Jones speaks outside the Supreme Court in June 2013. \u003ccite>(courtesy of Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I understand you moved away from San Francisco’s Castro District for a few years but have since come back. How has it been?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I moved back to the Castro about seven years ago. I had been spending time up there when we were making the movie \u003ci>Milk,\u003c/i> and I realized how much I missed San Francisco and the Castro. When we finished filming, I made the decision to move back as soon as I could. I was fortunate enough to find a rent-controlled apartment, which made it possible.\u003c/p>\n\u003cp>\u003cb>When you were living in the Castro during the beginning of the AIDS crisis, how visible was the impact of the disease on the neighborhood?\u003c/b>\u003c/p>\n\u003cp>By the fall of 1985, I had lost almost all of my closest friends. The death toll in the neighborhood hit 1,000 by the end of 1985, and after that we lost 2,000 a year for another 10 years. It was a devastating experience. There are a lot of ghosts here and I am very conscious of that when I walk through the neighborhood today.\u003c/p>\n\u003cp>\u003cb>What was it like before AIDS hit?\u003c/b>\u003c/p>\n\u003cp>When I first came to San Francisco in the early 1970s, the gay scene was on Polk Street and the Castro was just a sleepy Irish and Scandinavian neighborhood. There were a couple gay bars over here, though. There were a ton of gay bars back then in the ’70s — probably three times what we have today — and some were in the Castro. The large numbers of gay people didn’t start moving in until the mid ’70s and that accelerated in the late ’70s. \u003c/p>\n\u003cp>That was very exciting. It was very youthful. Today the population is much more diverse and much older, and there’s a lot more heterosexual families. But in the ’70s and ’80s this neighborhood was overwhelmingly populated by young gay men, mostly white but not entirely. \u003c/p>\n\u003cp>\u003cb>How was it for you as a young gay man? Was it safe?\u003c/b>\u003c/p>\n\u003cp>I think all of us who came here were looking for a place where we could be ourselves and be safe. There was still a lot of violence with the bashers coming into the neighborhood, and the cops were pretty dreadful. But it felt like a village, like a real community, and it still does, despite all the changes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z6TDxs9kC5Y\u003c/p>\n\u003cp>\u003cb>Having been an activist for so long, do you know when a protest is at its most effective?\u003c/b>\u003c/p>\n\u003cp>You know, people go on and on about what’s effective and what’s not. You’ll find that the minute you go to a room full of people, raise your hand and say, “I think we have to do this,” 20 hands will go up and tell you why you shouldn’t do that. What we do, especially on the left, is criticize and make fun of each others’ efforts. But the reality is that just about any tactic that you can think of, whether it’s writing letters to the editor, holding a protest, engaging in civil disobedience, registering voters, filing lawsuits — all of these can work. In fact what people need to understand is that it’s the urgent need to commit to a long-term struggle that leads to change. We don’t pay a lot of attention to history and we like everything packaged into neat little products with a begin time and an end time. It doesn’t work that way! The struggle is ongoing and its permanent, and right now we have entered a new phase of it, but all of those tactics can work. It’s important for people to do whatever they can with whatever they have wherever they are. \u003c/p>\n\u003cp>\u003cb>Do you think our current political situation will radicalize some of those who haven’t been politically active?\u003c/b>\u003c/p>\n\u003cp>I think we are entering a period of political chaos and that chaos is deepening. It’s the kind of situation where there’s potential for political upheaval, and also the possibility of great good. It is my hope that people will be radicalized and rise up to resist, and I hope that out of this chaos will emerge a much stronger progressive movement that stands against racism, xenophobia and homophobia. We don’t know what’s going to happen, but I’m heartened by the millions who have taken to the streets.\u003c/p>\n\u003cfigure id=\"attachment_12828246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/When-we-rise-800x450.jpg\" alt=\"Actors Guy Pearce and Austin McKenzie, writer Lance Black and activist Cleve Jones attend the North American Premiere of 'When We Rise' at the 28th Annual Palm Springs International Film Festival. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12828246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors Guy Pearce and Austin McKenzie, writer Lance Black and activist Cleve Jones attend the North American Premiere of ‘When We Rise’ at the 28th Annual Palm Springs International Film Festival. \u003ccite>(Photo: Vivien Killilea/Getty Images for Palm Springs International Film Festival )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did you ever think that your book would lead to a network television show?\u003c/b>\u003c/p>\n\u003cp>Back in 1978, I went back home to Arizona for the holidays. It was after the assassination of Harvey Milk and George Moscone. Late one night my mother and I were talking about what was going on, and she said, “You’re living through one of those times, when you get older, people will write books and movies about what you’re living now.” She predicted this back in 1978.\u003c/p>\n\u003cp>I’ve always been aware that I was involved in historic times. It was never about me, it was just about where I was and what was going on. When I started writing the book, I had no idea that it was going to end up being the partial inspiration for a mini-series. I went down to L.A. so I could focus and not be distracted, and I stayed with Dustin Lance Black. It ended up that I worked on the book and he worked on the screenplay. \u003c/p>\n\u003cp>It’s been exciting. I’ve seen the show and I like it. Parts are very powerful, but it leaves out a big chunk of what I’ve been doing with my life for the last 10 years with the labor movement, so I’m not particularly happy about that. I wish there was more about my work with the union. But I still think people should see it.\u003c/p>\n\u003cp>\u003cb>You mentioned Milk and Moscone. You were actually the one who discovered Milk’s body after he was shot by Dan White. How has it been living with that memory?\u003c/b>\u003c/p>\n\u003cp>Meeting Harvey was the most important thing that happened to me in my entire life. Everything that’s happened since goes back to him. I walked in shortly after he was shot and saw his body, and it was horrifying. I had never seen a dead person before. I thought everything was over. I think I was in shock for months afterwards, and it’s something I still think about. \u003c/p>\n\u003cp>But it’s an example of how one can face great tragedy. So many times in my life I thought everything was over but it wasn’t. I just had to keep on fighting and moving forward, and I want people to be aware of that, especially now since so many people think this election is the end of everything we hold dear. It’s not. We’re going to fight back and resist, and do the best we can. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEObIgSXtBY \u003c/p>\n\n",
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"excerpt": "The opportunity to speak to someone who has made the world a better place doesn’t come often, so talking to Cleve Jones shouldn’t be taken lightly. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The opportunity to speak to someone who has made the world a better place doesn’t come often, so talking to Cleve Jones shouldn’t be taken lightly. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For most of his life, Jones has worked for “the Movement,” a summation of all the various causes he’s taken up over his decades of political activism. As a teenager, he worked with the United Farm Workers, and after moving to San Francisco in the ’70s, he fought for causes such as gay rights, AIDS research and, for the past decade, labor rights. But he’ll always be known for two things: working with Harvey Milk, the nation’s first openly gay politician, and for conceiving the AIDS Memorial Quilt, credited with breaking the country’s hard exterior regarding the mortal devastation caused by the disease. \u003c/p>\n\u003cp>Jones’s resume reads like a textbook on the history of human rights in America, which is probably why he wrote a memoir. Published last year, \u003cem>When We Rise: My Life in the Movement\u003c/em> has Jones telling tales from his life as an activist, going all the way up to his work with \u003ca href=\"http://unitehere.org/\" target=\"_blank\" rel=\"noopener\">UNITE HERE\u003c/a>. His friend, Oscar-winning screenwriter Dustin Lance Black (\u003ci>Milk\u003c/i>), then took much of Jones’s story and used it for the upcoming ABC four-part mini-series, also called \u003ci>When We Rise.\u003c/i> Before its broadcast this week, I spoke with Jones about his life in San Francisco and what he’s learned about the power of political movements.\u003c/p>\n\u003cfigure id=\"attachment_12827969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-800x449.jpg\" alt=\"Cleve Jones speaks outside the Supreme Court in June 2013\" width=\"800\" height=\"449\" class=\"size-medium wp-image-12827969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/cleve_at_supreme_court-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cleve Jones speaks outside the Supreme Court in June 2013. \u003ccite>(courtesy of Hachette Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>I understand you moved away from San Francisco’s Castro District for a few years but have since come back. How has it been?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I moved back to the Castro about seven years ago. I had been spending time up there when we were making the movie \u003ci>Milk,\u003c/i> and I realized how much I missed San Francisco and the Castro. When we finished filming, I made the decision to move back as soon as I could. I was fortunate enough to find a rent-controlled apartment, which made it possible.\u003c/p>\n\u003cp>\u003cb>When you were living in the Castro during the beginning of the AIDS crisis, how visible was the impact of the disease on the neighborhood?\u003c/b>\u003c/p>\n\u003cp>By the fall of 1985, I had lost almost all of my closest friends. The death toll in the neighborhood hit 1,000 by the end of 1985, and after that we lost 2,000 a year for another 10 years. It was a devastating experience. There are a lot of ghosts here and I am very conscious of that when I walk through the neighborhood today.\u003c/p>\n\u003cp>\u003cb>What was it like before AIDS hit?\u003c/b>\u003c/p>\n\u003cp>When I first came to San Francisco in the early 1970s, the gay scene was on Polk Street and the Castro was just a sleepy Irish and Scandinavian neighborhood. There were a couple gay bars over here, though. There were a ton of gay bars back then in the ’70s — probably three times what we have today — and some were in the Castro. The large numbers of gay people didn’t start moving in until the mid ’70s and that accelerated in the late ’70s. \u003c/p>\n\u003cp>That was very exciting. It was very youthful. Today the population is much more diverse and much older, and there’s a lot more heterosexual families. But in the ’70s and ’80s this neighborhood was overwhelmingly populated by young gay men, mostly white but not entirely. \u003c/p>\n\u003cp>\u003cb>How was it for you as a young gay man? Was it safe?\u003c/b>\u003c/p>\n\u003cp>I think all of us who came here were looking for a place where we could be ourselves and be safe. There was still a lot of violence with the bashers coming into the neighborhood, and the cops were pretty dreadful. But it felt like a village, like a real community, and it still does, despite all the changes.\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/z6TDxs9kC5Y'\n title='//www.youtube.com/embed/z6TDxs9kC5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Having been an activist for so long, do you know when a protest is at its most effective?\u003c/b>\u003c/p>\n\u003cp>You know, people go on and on about what’s effective and what’s not. You’ll find that the minute you go to a room full of people, raise your hand and say, “I think we have to do this,” 20 hands will go up and tell you why you shouldn’t do that. What we do, especially on the left, is criticize and make fun of each others’ efforts. But the reality is that just about any tactic that you can think of, whether it’s writing letters to the editor, holding a protest, engaging in civil disobedience, registering voters, filing lawsuits — all of these can work. In fact what people need to understand is that it’s the urgent need to commit to a long-term struggle that leads to change. We don’t pay a lot of attention to history and we like everything packaged into neat little products with a begin time and an end time. It doesn’t work that way! The struggle is ongoing and its permanent, and right now we have entered a new phase of it, but all of those tactics can work. It’s important for people to do whatever they can with whatever they have wherever they are. \u003c/p>\n\u003cp>\u003cb>Do you think our current political situation will radicalize some of those who haven’t been politically active?\u003c/b>\u003c/p>\n\u003cp>I think we are entering a period of political chaos and that chaos is deepening. It’s the kind of situation where there’s potential for political upheaval, and also the possibility of great good. It is my hope that people will be radicalized and rise up to resist, and I hope that out of this chaos will emerge a much stronger progressive movement that stands against racism, xenophobia and homophobia. We don’t know what’s going to happen, but I’m heartened by the millions who have taken to the streets.\u003c/p>\n\u003cfigure id=\"attachment_12828246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/When-we-rise-800x450.jpg\" alt=\"Actors Guy Pearce and Austin McKenzie, writer Lance Black and activist Cleve Jones attend the North American Premiere of 'When We Rise' at the 28th Annual Palm Springs International Film Festival. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12828246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/When-we-rise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Actors Guy Pearce and Austin McKenzie, writer Lance Black and activist Cleve Jones attend the North American Premiere of ‘When We Rise’ at the 28th Annual Palm Springs International Film Festival. \u003ccite>(Photo: Vivien Killilea/Getty Images for Palm Springs International Film Festival )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Did you ever think that your book would lead to a network television show?\u003c/b>\u003c/p>\n\u003cp>Back in 1978, I went back home to Arizona for the holidays. It was after the assassination of Harvey Milk and George Moscone. Late one night my mother and I were talking about what was going on, and she said, “You’re living through one of those times, when you get older, people will write books and movies about what you’re living now.” She predicted this back in 1978.\u003c/p>\n\u003cp>I’ve always been aware that I was involved in historic times. It was never about me, it was just about where I was and what was going on. When I started writing the book, I had no idea that it was going to end up being the partial inspiration for a mini-series. I went down to L.A. so I could focus and not be distracted, and I stayed with Dustin Lance Black. It ended up that I worked on the book and he worked on the screenplay. \u003c/p>\n\u003cp>It’s been exciting. I’ve seen the show and I like it. Parts are very powerful, but it leaves out a big chunk of what I’ve been doing with my life for the last 10 years with the labor movement, so I’m not particularly happy about that. I wish there was more about my work with the union. But I still think people should see it.\u003c/p>\n\u003cp>\u003cb>You mentioned Milk and Moscone. You were actually the one who discovered Milk’s body after he was shot by Dan White. How has it been living with that memory?\u003c/b>\u003c/p>\n\u003cp>Meeting Harvey was the most important thing that happened to me in my entire life. Everything that’s happened since goes back to him. I walked in shortly after he was shot and saw his body, and it was horrifying. I had never seen a dead person before. I thought everything was over. I think I was in shock for months afterwards, and it’s something I still think about. \u003c/p>\n\u003cp>But it’s an example of how one can face great tragedy. So many times in my life I thought everything was over but it wasn’t. I just had to keep on fighting and moving forward, and I want people to be aware of that, especially now since so many people think this election is the end of everything we hold dear. It’s not. We’re going to fight back and resist, and do the best we can. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEObIgSXtBY \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oscars Mistake Puts Consulting Firm's Reputation in Jeopardy",
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"headTitle": "Oscars Mistake Puts Consulting Firm’s Reputation in Jeopardy | KQED",
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"content": "\u003cp>For 82 years, accounting and consulting firm PwC has enjoyed a reputational boon from handling the balloting process at the Academy Awards.\u003c/p>\n\u003cp>Now its hard-won image as a dependable partner is under threat.\u003c/p>\n\u003cp>The company has apologized for a colossal mistake at the 89th Academy Awards on Sunday night when actors Faye Dunaway and Warren Beatty wrongly announced the top Oscar went to “La La Land,” instead of \u003cem>Moonlight\u003c/em>.\u003c/p>\n\u003cp>The presenters, it turned out, had been given the wrong envelope by tabulators PwC, in this case the one awarding Emma Stone for best actress for her role in \u003cem>La La Land\u003c/em>. The representatives from PwC, formerly known as PricewaterhouseCoopers, eventually corrected the mistake on air but it’s not clear yet how the wrong envelope ended up in the hands of the “Bonnie and Clyde” stars.\u003c/p>\n\u003cp>Whatever the reason, it’s been a cue for endless jokes and hilarity around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For London-headquartered PwC, it’s anything but funny.\u003c/p>\n\u003cp>According to Nigel Currie, an independent London-based branding specialist with decades’ worth of industry experience, this mistake is “as bad a mess-up as you could imagine.”\u003c/p>\n\u003cp>“They had a pretty simple job to do and messed it up spectacularly,” he said. “They will be in deep crisis talks on how to deal with it.”\u003c/p>\n\u003cp>Brands go to extraordinary lengths to protect their image and reputation and to be seen as good corporate citizens. History is littered by examples when a hard-won reputation nosedives — from sporting legends Tiger Woods and Lance Armstrong to business giants like BP following the Deepwater Horizon oil spill disaster and Volkswagen after its emissions cheating scandal.\u003c/p>\n\u003cp>Crisis managers say PwC has no other option than to front-up immediately and explain exactly what happened to contain the damage to its reputation and brand and plot a way forward where there’s no repeat.\u003c/p>\n\u003cp>“There will certainly have to be accounting for this error,” said Jeremy Robinson-Leon, principal and chief operating officer at New York-based public relations firm Group Gordon. “The onus will be on PwC, assuming they stay as partners, to institute controls to ensure this doesn’t happen again.”\u003c/p>\n\u003cp>PwC, which originated in London over a century ago, was quick to apologize to the movies involved, Beatty, Dunaway and viewers, but has yet to fully explain what happened.\u003c/p>\n\u003cp>“The presenters had mistakenly been given the wrong category envelope and, when discovered, was immediately corrected,” it said in a statement. “We are currently investigating how this could have happened, and deeply regret that this occurred.”\u003c/p>\n\u003cp>In fact, it took over two minutes on air, during which time the “La La Land” team gave three acceptance speeches, before PwC corrected the mistake on stage.\u003c/p>\n\u003cp>PwC’s representatives were Brian Cullinan, a partner at the firm — and, according to his bio on the company’s website, a Matt Damon lookalike — and Martha Ruiz, the second woman to serve as a PwC Oscars tabulator.\u003c/p>\n\u003cp>Cullinan is the lead partner for the Academy of Motion Picture Arts and Sciences, including the annual balloting for the Oscars ceremony. He has been part of the balloting team since 2014.\u003cbr>\nRuiz, a 19-year veteran at PwC who specializes in providing tax compliance and advisory services to entertainment clients in southern California, joined Cullinan as the Oscars balloting co-leader in 2015.\u003c/p>\n\u003cp>In a promotional video on the company’s website ahead of Sunday’s show, Cullinan said he and Ruiz are the only two who knew who the winners were on the night of the awards.\u003c/p>\n\u003cp>“There are 24 categories. We have the winners in sealed envelopes that we hold and maintain throughout the evening and hand those to the presenters before they walk out on stage,” he said.\u003c/p>\n\u003cp>According to Mike Davies, PwC’s director of global communications, both Cullinan and Ruiz would have had a briefcase on either side of the auditorium to hand out the envelope for the category to be announced. Each briefcase would have had one envelope of each category winner.\u003c/p>\n\u003cp>In his remarks before the show, Cullinan had said PwC’s relationship with the Academy Awards is testament to the firm’s reputation in the market for being “a firm of integrity, of accuracy and confidentiality and all of those things that are really key to the role we have with the Academy in counting these ballots.”\u003c/p>\n\u003cp>“But I think it’s really symbolic of how we’re thought of beyond this role and how our clients think of us and I think it’s something we take very seriously and take a lot of pride in.”\u003cbr>\nRobinson-Leon said it was important to remember that counting ballots is not PwC’s core business but that it will have to be serious about dealing with the aftermath of Sunday’s embarrassment and media fallout.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This can happen once and there will be relative forgiveness but it can’t happen twice,” said Group Gordon’s Robinson-Leon. “If they were to do this again, that could have an impact on the brand. If this is an isolated incident, the long-term impact on the brand will be minimal.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For 82 years, accounting and consulting firm PwC has enjoyed a reputational boon from handling the balloting process at the Academy Awards.\u003c/p>\n\u003cp>Now its hard-won image as a dependable partner is under threat.\u003c/p>\n\u003cp>The company has apologized for a colossal mistake at the 89th Academy Awards on Sunday night when actors Faye Dunaway and Warren Beatty wrongly announced the top Oscar went to “La La Land,” instead of \u003cem>Moonlight\u003c/em>.\u003c/p>\n\u003cp>The presenters, it turned out, had been given the wrong envelope by tabulators PwC, in this case the one awarding Emma Stone for best actress for her role in \u003cem>La La Land\u003c/em>. The representatives from PwC, formerly known as PricewaterhouseCoopers, eventually corrected the mistake on air but it’s not clear yet how the wrong envelope ended up in the hands of the “Bonnie and Clyde” stars.\u003c/p>\n\u003cp>Whatever the reason, it’s been a cue for endless jokes and hilarity around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For London-headquartered PwC, it’s anything but funny.\u003c/p>\n\u003cp>According to Nigel Currie, an independent London-based branding specialist with decades’ worth of industry experience, this mistake is “as bad a mess-up as you could imagine.”\u003c/p>\n\u003cp>“They had a pretty simple job to do and messed it up spectacularly,” he said. “They will be in deep crisis talks on how to deal with it.”\u003c/p>\n\u003cp>Brands go to extraordinary lengths to protect their image and reputation and to be seen as good corporate citizens. History is littered by examples when a hard-won reputation nosedives — from sporting legends Tiger Woods and Lance Armstrong to business giants like BP following the Deepwater Horizon oil spill disaster and Volkswagen after its emissions cheating scandal.\u003c/p>\n\u003cp>Crisis managers say PwC has no other option than to front-up immediately and explain exactly what happened to contain the damage to its reputation and brand and plot a way forward where there’s no repeat.\u003c/p>\n\u003cp>“There will certainly have to be accounting for this error,” said Jeremy Robinson-Leon, principal and chief operating officer at New York-based public relations firm Group Gordon. “The onus will be on PwC, assuming they stay as partners, to institute controls to ensure this doesn’t happen again.”\u003c/p>\n\u003cp>PwC, which originated in London over a century ago, was quick to apologize to the movies involved, Beatty, Dunaway and viewers, but has yet to fully explain what happened.\u003c/p>\n\u003cp>“The presenters had mistakenly been given the wrong category envelope and, when discovered, was immediately corrected,” it said in a statement. “We are currently investigating how this could have happened, and deeply regret that this occurred.”\u003c/p>\n\u003cp>In fact, it took over two minutes on air, during which time the “La La Land” team gave three acceptance speeches, before PwC corrected the mistake on stage.\u003c/p>\n\u003cp>PwC’s representatives were Brian Cullinan, a partner at the firm — and, according to his bio on the company’s website, a Matt Damon lookalike — and Martha Ruiz, the second woman to serve as a PwC Oscars tabulator.\u003c/p>\n\u003cp>Cullinan is the lead partner for the Academy of Motion Picture Arts and Sciences, including the annual balloting for the Oscars ceremony. He has been part of the balloting team since 2014.\u003cbr>\nRuiz, a 19-year veteran at PwC who specializes in providing tax compliance and advisory services to entertainment clients in southern California, joined Cullinan as the Oscars balloting co-leader in 2015.\u003c/p>\n\u003cp>In a promotional video on the company’s website ahead of Sunday’s show, Cullinan said he and Ruiz are the only two who knew who the winners were on the night of the awards.\u003c/p>\n\u003cp>“There are 24 categories. We have the winners in sealed envelopes that we hold and maintain throughout the evening and hand those to the presenters before they walk out on stage,” he said.\u003c/p>\n\u003cp>According to Mike Davies, PwC’s director of global communications, both Cullinan and Ruiz would have had a briefcase on either side of the auditorium to hand out the envelope for the category to be announced. Each briefcase would have had one envelope of each category winner.\u003c/p>\n\u003cp>In his remarks before the show, Cullinan had said PwC’s relationship with the Academy Awards is testament to the firm’s reputation in the market for being “a firm of integrity, of accuracy and confidentiality and all of those things that are really key to the role we have with the Academy in counting these ballots.”\u003c/p>\n\u003cp>“But I think it’s really symbolic of how we’re thought of beyond this role and how our clients think of us and I think it’s something we take very seriously and take a lot of pride in.”\u003cbr>\nRobinson-Leon said it was important to remember that counting ballots is not PwC’s core business but that it will have to be serious about dealing with the aftermath of Sunday’s embarrassment and media fallout.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This can happen once and there will be relative forgiveness but it can’t happen twice,” said Group Gordon’s Robinson-Leon. “If they were to do this again, that could have an impact on the brand. If this is an isolated incident, the long-term impact on the brand will be minimal.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
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