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"content": "\u003cp>The winning image of the 2017 World Press Photo of the Year award was described by one jury member as the “face of hatred.”\u003c/p>\n\u003cp>It shows a shouting, suit-clad gunman standing in an art gallery in Turkey’s capital, one hand holding a weapon, the other pointing to the sky. On the ground next to him is the crumpled body of his victim, Russian Ambassador Andrei Karlov.\u003c/p>\n\u003cp>Associated Press photographer Burhan Ozbilici, who happened to stop in at the gallery in Ankara on his way home from work on Dec. 19, 2016, was just a few feet away from the shooting and documented the harrowing event.\u003c/p>\n\u003cp>“I remember thinking: ‘I might be killed or injured, but the Russian ambassador has been shot. This is very big news, so as a journalist it is my responsibility to stand and do my work,'” Ozbilici said in an interview with World Press Photo’s \u003ca href=\"https://witness.worldpressphoto.org/photographing-an-assassination-b188572a80f5#.44lxsgzbs\" target=\"_blank\" rel=\"noopener\">Witness magazine\u003c/a>. “Even if I was killed, there would still be photos.”\u003c/p>\n\u003cp>Jury members made it clear there was a difficult debate over whether selecting the photo might send the wrong message.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“In the end we felt that the picture of the Year was an explosive image that really spoke to the hatred of our times,” jury member Mary Calvert \u003ca href=\"https://www.worldpressphoto.org/news/2017-02-13/world-press-photo-announces-winners-2017-contests\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomizes the definition of what the World Press Photo of the Year is and means.”\u003c/p>\n\u003cp>For juror João Silva, this photo gives a sense of the current global moment: “I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”\u003c/p>\n\u003cp>But the jury’s chairman, Stuart Franklin, has publicly stated that he found the choice morally problematic. In an opinion piece \u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu\" target=\"_blank\" rel=\"noopener\">published in The Guardian\u003c/a>, he said he admires Ozbilici’s bravery and skill, but voted against his image. Franklin says his reasons highlight a debate that dates back millennia:\u003c/p>\n\u003cblockquote>\n\u003cp>“Placing the photograph on this high pedestal is an invitation to those contemplating such staged spectaculars: it reaffirms the compact between martyrdom and publicity. …\u003c/p>\n\u003cp>“To be clear, my moral position is not that the well-intentioned photographer should be denied the credit he deserves; rather that I feared we’d be amplifying a terrorist’s message through the additional publicity that the top prize attracts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Calvert \u003ca href=\"https://lens.blogs.nytimes.com/2017/02/13/the-worlds-best-photo-world-press-awards/?_r=0\" target=\"_blank\" rel=\"noopener\">told The New York Times\u003c/a> that jury was “rewarding the photographer, not rewarding the crime” — and the image is a powerful, historically relevant record of our current moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ozbilici told Witness that his work “represented a long tradition of good, independent journalism and good news photos.” And that makes him “happy and proud — proud of all good journalists, those living and those who have been killed doing their work, at a time when people are trying to manipulate the media, and the quality of journalism is often ignored.”\u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu#img-2\" target=\"_blank\" rel=\"noopener\">\u003c/a> \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=%27Explosive%27+Image+Of+An+Assassination+Wins+World+Press+Photo+Of+The+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winning image of the 2017 World Press Photo of the Year award was described by one jury member as the “face of hatred.”\u003c/p>\n\u003cp>It shows a shouting, suit-clad gunman standing in an art gallery in Turkey’s capital, one hand holding a weapon, the other pointing to the sky. On the ground next to him is the crumpled body of his victim, Russian Ambassador Andrei Karlov.\u003c/p>\n\u003cp>Associated Press photographer Burhan Ozbilici, who happened to stop in at the gallery in Ankara on his way home from work on Dec. 19, 2016, was just a few feet away from the shooting and documented the harrowing event.\u003c/p>\n\u003cp>“I remember thinking: ‘I might be killed or injured, but the Russian ambassador has been shot. This is very big news, so as a journalist it is my responsibility to stand and do my work,'” Ozbilici said in an interview with World Press Photo’s \u003ca href=\"https://witness.worldpressphoto.org/photographing-an-assassination-b188572a80f5#.44lxsgzbs\" target=\"_blank\" rel=\"noopener\">Witness magazine\u003c/a>. “Even if I was killed, there would still be photos.”\u003c/p>\n\u003cp>Jury members made it clear there was a difficult debate over whether selecting the photo might send the wrong message.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In the end we felt that the picture of the Year was an explosive image that really spoke to the hatred of our times,” jury member Mary Calvert \u003ca href=\"https://www.worldpressphoto.org/news/2017-02-13/world-press-photo-announces-winners-2017-contests\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a>. “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomizes the definition of what the World Press Photo of the Year is and means.”\u003c/p>\n\u003cp>For juror João Silva, this photo gives a sense of the current global moment: “I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”\u003c/p>\n\u003cp>But the jury’s chairman, Stuart Franklin, has publicly stated that he found the choice morally problematic. In an opinion piece \u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu\" target=\"_blank\" rel=\"noopener\">published in The Guardian\u003c/a>, he said he admires Ozbilici’s bravery and skill, but voted against his image. Franklin says his reasons highlight a debate that dates back millennia:\u003c/p>\n\u003cblockquote>\n\u003cp>“Placing the photograph on this high pedestal is an invitation to those contemplating such staged spectaculars: it reaffirms the compact between martyrdom and publicity. …\u003c/p>\n\u003cp>“To be clear, my moral position is not that the well-intentioned photographer should be denied the credit he deserves; rather that I feared we’d be amplifying a terrorist’s message through the additional publicity that the top prize attracts.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Calvert \u003ca href=\"https://lens.blogs.nytimes.com/2017/02/13/the-worlds-best-photo-world-press-awards/?_r=0\" target=\"_blank\" rel=\"noopener\">told The New York Times\u003c/a> that jury was “rewarding the photographer, not rewarding the crime” — and the image is a powerful, historically relevant record of our current moment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ozbilici told Witness that his work “represented a long tradition of good, independent journalism and good news photos.” And that makes him “happy and proud — proud of all good journalists, those living and those who have been killed doing their work, at a time when people are trying to manipulate the media, and the quality of journalism is often ignored.”\u003ca href=\"https://www.theguardian.com/commentisfree/2017/feb/13/world-press-photo-year-turkey-russian-assassination?CMP=twt_gu#img-2\" target=\"_blank\" rel=\"noopener\">\u003c/a> \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=%27Explosive%27+Image+Of+An+Assassination+Wins+World+Press+Photo+Of+The+Year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tidal’s exclusive streaming rights to Prince’s Warner Bros. Records catalog is over.\u003c/p>\n\u003cp>The record company announced that starting Sunday, his music on the label — including albums like the seminal \u003cem>Purple Rain\u003c/em> to his early work like \u003cem>Dirty Mind\u003c/em> — will be made available on all streaming services.\u003c/p>\n\u003cp>The timing of the release — on the day of the Grammys — was not coincidental. All of the music was expected to be available on all streaming sites by the time the awards show began and a tribute to the singer is planned during the ceremony.\u003c/p>\n\u003cp>In a statement, Warner Bros. Records Chairman and CEO Cameron Strang thanked Prince’s estate for its help to make the deal possible.\u003c/p>\n\u003cp>Said Strang: “Prince recorded his most influential and popular music during his time with Warner Bros. and we are deeply aware of our responsibility to safeguard and nurture his incredible legacy. Warner Bros. is thrilled to be able to bring Prince’s music to his millions of fans around the world via streaming services, fittingly on music’s biggest night.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince was famously protective of the rights to his music and before he died chose Tidal to exclusively stream his new music and his catalog because of the financial equity of the deal. The service, which counts Jay Z as one of its owners, held on to those rights after Prince died April 21.\u003c/p>\n\u003cp>But the superstar died without a will, and decisions were made by his estate, and Universal Music Publishing became the administrator of his musical rights. Last November, the estate sued Jay Z’s Roc Nation to halt Tidal’s exclusive streaming rights.\u003c/p>\n\u003cp>Warner Bros. Records also announced Sunday plans to remaster \u003cem>Purple Rain\u003c/em>, a project Prince was working on before his death, as well as two albums of unreleased music and two concert films from his Paisley Park vault. Those projects will be released June 9, two days after what would have been his 59th birthday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we make any of Prince’s music available to fans — from the hits to unreleased gems — we are committed to upholding Prince’s high creative standards and we know fans will be thrilled when they hear these albums and see these films,” Strang said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tidal’s exclusive streaming rights to Prince’s Warner Bros. Records catalog is over.\u003c/p>\n\u003cp>The record company announced that starting Sunday, his music on the label — including albums like the seminal \u003cem>Purple Rain\u003c/em> to his early work like \u003cem>Dirty Mind\u003c/em> — will be made available on all streaming services.\u003c/p>\n\u003cp>The timing of the release — on the day of the Grammys — was not coincidental. All of the music was expected to be available on all streaming sites by the time the awards show began and a tribute to the singer is planned during the ceremony.\u003c/p>\n\u003cp>In a statement, Warner Bros. Records Chairman and CEO Cameron Strang thanked Prince’s estate for its help to make the deal possible.\u003c/p>\n\u003cp>Said Strang: “Prince recorded his most influential and popular music during his time with Warner Bros. and we are deeply aware of our responsibility to safeguard and nurture his incredible legacy. Warner Bros. is thrilled to be able to bring Prince’s music to his millions of fans around the world via streaming services, fittingly on music’s biggest night.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was famously protective of the rights to his music and before he died chose Tidal to exclusively stream his new music and his catalog because of the financial equity of the deal. The service, which counts Jay Z as one of its owners, held on to those rights after Prince died April 21.\u003c/p>\n\u003cp>But the superstar died without a will, and decisions were made by his estate, and Universal Music Publishing became the administrator of his musical rights. Last November, the estate sued Jay Z’s Roc Nation to halt Tidal’s exclusive streaming rights.\u003c/p>\n\u003cp>Warner Bros. Records also announced Sunday plans to remaster \u003cem>Purple Rain\u003c/em>, a project Prince was working on before his death, as well as two albums of unreleased music and two concert films from his Paisley Park vault. Those projects will be released June 9, two days after what would have been his 59th birthday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we make any of Prince’s music available to fans — from the hits to unreleased gems — we are committed to upholding Prince’s high creative standards and we know fans will be thrilled when they hear these albums and see these films,” Strang said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Al Jarreau, a versatile vocalist who defied categorization for decades, died Sunday at the age of 76. Earlier this week, Jarreau had been hospitalized in Los Angeles “due to exhaustion,” according to his official Facebook page.\u003c/p>\n\u003cp>In a statement posted on Jarreau’s website, the musician was lauded for his compassion and caring for those around him.\u003c/p>\n\u003cblockquote>\u003cp>“His 2nd priority in life was music. There was no 3rd. His 1st priority, far ahead of the other, was healing or comforting anyone in need. Whether it was emotional pain, or physical discomfort, or any other cause of suffering, he needed to put our minds at ease and our hearts at rest.”\u003c/p>\u003c/blockquote>\n\u003cp>As an artist, Jarreau was impossible to define and had a voice impossible to mistake. Since he recorded his first album in the 1960s, Jarreau demonstrated a vocal dynamism and flexibility that outpaced many of his peers — as can be seen clearly in his record at the Grammys. Jarreau won seven of them over the course of his career, earning plaudits in the jazz, pop and R&B categories.\u003c/p>\n\u003cp>As NPR’s Rose Friedman notes, “He was famous for his scat singing, using his voice like a musical instrument.”\u003c/p>\n\u003cp>\u003cem>People \u003c/em>magazine put it simply: “He doesn’t so much sing as play his voice.”\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=Al+Jarreau%2C+Versatile+Vocalist+Who+%27Played+His+Voice%2C%27+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Al Jarreau, a versatile vocalist who defied categorization for decades, died Sunday at the age of 76. Earlier this week, Jarreau had been hospitalized in Los Angeles “due to exhaustion,” according to his official Facebook page.\u003c/p>\n\u003cp>In a statement posted on Jarreau’s website, the musician was lauded for his compassion and caring for those around him.\u003c/p>\n\u003cblockquote>\u003cp>“His 2nd priority in life was music. There was no 3rd. His 1st priority, far ahead of the other, was healing or comforting anyone in need. Whether it was emotional pain, or physical discomfort, or any other cause of suffering, he needed to put our minds at ease and our hearts at rest.”\u003c/p>\u003c/blockquote>\n\u003cp>As an artist, Jarreau was impossible to define and had a voice impossible to mistake. Since he recorded his first album in the 1960s, Jarreau demonstrated a vocal dynamism and flexibility that outpaced many of his peers — as can be seen clearly in his record at the Grammys. Jarreau won seven of them over the course of his career, earning plaudits in the jazz, pop and R&B categories.\u003c/p>\n\u003cp>As NPR’s Rose Friedman notes, “He was famous for his scat singing, using his voice like a musical instrument.”\u003c/p>\n\u003cp>\u003cem>People \u003c/em>magazine put it simply: “He doesn’t so much sing as play his voice.”\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=Al+Jarreau%2C+Versatile+Vocalist+Who+%27Played+His+Voice%2C%27+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s story time at the \u003ca href=\"http://www.oaklandlibrary.org/locations/dimond-branch\" target=\"_blank\" rel=\"noopener\">Dimond Branch \u003c/a>of the Oakland Public Library, and librarian Miriam Medow sits before a group of about 30 kids and parents — black, white, Latino, Asian American and Arab American. First Medow leads them in a song where everyone gets to blow raspberries, and then she reads about the all-animal cast in\u003ca href=\"http://www.publishersweekly.com/978-0-316-20063-9\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Tiger Goes Wild\u003c/em>.\u003c/a> Medow says one of the toughest parts of her job is finding enough books that reflect this very diverse neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12730328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg\" alt=\"Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1920x1311.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That means a great variety of races and religions and sexualities and experiences of disability and so much more,” Medow said in an interview.\u003c/p>\n\u003cp>Every child, Medow said, quoting an old publishing ideal, should be able to read books that are both a window on the world, and a reflection of their own lives. But when I asked if she finds enough of those books, she said, “No. Never enough. Not yet.”\u003c/p>\n\u003cp>That’s a concern for Solomon Makoni, a Zimbabwean American with a white wife who brought their three year-old son Tadashe to Medow’s story time.\u003c/p>\n\u003cfigure id=\"attachment_12730329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730329\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg\" alt=\"Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We both want him to see himself in the books that he reads,” Makoni said. “To teach him he’s no different. And once you see yourself among your books, or see superheroes who look like you, then you can dream big.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More than half of U.S. children under the age of five are like Tadashe — children of color. But only about 14 percent of the kids’ books published in 2015 were authored by or featured people of color.\u003c/p>\n\u003cp>Those statistics come from the \u003ca href=\"https://ccbc.education.wisc.edu/\" target=\"_blank\" rel=\"noopener\">Cooperative Children’s Book Center at the University of Wisconsin\u003c/a>, where Megan Schliesman is a librarian, and has been tracking diversity numbers since 2002.\u003c/p>\n\u003cp>“And they’re always abysmally low,” Schliesman said.\u003c/p>\n\u003cp>The issue, Schliesman said, is one that comes up again and again among librarians and publishers at conferences on children’s books around the country.\u003c/p>\n\u003cp>“There are overall good intentions in the publishing industry,” Schliesman said, “but I think there is a big gap between those good intentions and the reality of what is being published for children and teenagers.”\u003c/p>\n\u003ch3>Two Local Startups\u003c/h3>\n\u003cp>Back in Oakland, Janine Macbeth is trying to close that gap.\u003c/p>\n\u003cp>“I can attest to the fact that our communities are hungry for these books,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12730894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg\" alt=\"Janine Macbeth, founder and publisher of Blood Orange Press\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1920x1314.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-960x657.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-520x356.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janine Macbeth, founder and publisher of Blood Orange Press. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Macbeth is the founder of \u003ca href=\"http://www.bloodorangepress.com/\" target=\"_blank\" rel=\"noopener\">Blood Orange Press\u003c/a>, a kids book publisher devoted to making kid-lit more diverse, and we’re sitting in her office and studio, really the walk-in closet of her bedroom.\u003c/p>\n\u003cp>Macbeth, who lives just a few blocks from the Dimond Library, shows me an illustration for one of the three books she’s published, a story about a Latino boy who defies gender rules. “The author, Laurin Mayeno, based the book on her son,” Macbeth said, “who, when he was in preschool, wanted to be a princess for the school parade.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mMDkCxRjq2I\u003c/p>\n\u003cp>Macbeth is mixed race, Chinese American on her mom’s side, African American on her dad’s. She loved libraries and books as a kid. “But I noticed that my community wasn’t reflected in the books,” she said, choking up a bit. “So I started to think that books weren’t an option for me, because of my race.”\u003c/p>\n\u003cp>She gave up her dream in college, but a few years ago, Macbeth said, she worked up her courage and founded Blood Orange Press with a small Kickstarter campaign. “I’m going to create an institution that embraces our stories, and sees them as worthy of being shared.”\u003c/p>\n\u003cp>Macbeth’s print runs are tiny, just five to 10 thousand books. But she’s part of a ripple of change in the big ocean of publishing. Across the bay in San Francisco, there’s another ripple from Maya Christina Gonzalez.\u003c/p>\n\u003cp>“I always joke that they accidentally let me in, as a radical, queer, Chicana,” Gonzalez said. “I’m not the normal voice you tend to hear.”\u003c/p>\n\u003cfigure id=\"attachment_12730327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg\" alt=\"Maya Christina Gonzalez with some her self-published books in her Mission District studio\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1920x1284.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454.jpg 2012w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Christina Gonzalez with some her self-published books in her Mission District studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzalez runs \u003ca href=\"http://www.reflectionpress.com/\" target=\"_blank\" rel=\"noopener\">Reflection Press\u003c/a> out of a tiny Mission District Studio, where we talked while slightly crouched under the low ceiling and surrounded by dolls and mirrors and fabrics to inspire Gonzalez’s illustrations. She’s an award-winning illustrator and author, writing and illustrating 20 multicultural books for traditional publishers, and more at her own press. The newest book from Reflection Press, written the day after the fall election, is \u003ca href=\"http://www.reflectionpress.com/our-books/when-a-bully-is-president/\" target=\"_blank\" rel=\"noopener\">\u003cem>When a Bully Becomes President.\u003c/em> \u003c/a>\u003c/p>\n\u003ch3>A Nationwide Movement\u003c/h3>\n\u003cp>These two Bay Area startups aren’t so alone: they’re part of a recent wave of attention for diversity in kids books, led by \u003ca href=\"http://weneeddiversebooks.org/\" target=\"_blank\" rel=\"noopener\">We Need Diverse Books\u003c/a> (WNDB), a two year-old social media network with more than thirty thousand followers. The group came together after a 2014 publishing conference featuring an all-white, all-male children’s literacy panel.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mrrh0G-OkBw\u003c/p>\n\u003cp>“And social media gave a visual to the message,” said Dhonielle Clayton, an African American author in New York City who is also Chief Operating Officer for WNDB. “So we got to see a lot of different kinds of kids, and different kinds of families on Facebook and Snapchat. And we’d hear from teenagers and kids saying things like, ‘I’m in a wheelchair, and yes, I would love to be the hero of my own story.’”\u003c/p>\n\u003cp>Clayton said WNDB has set up a fund to provide grants to writers of color, and help pay for internships in the publishing industry, which is dominated by straight, white women.\u003c/p>\n\u003cfigure id=\"attachment_12749157\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12749157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg\" alt=\"Lee and Low Books is a rare publisher specializing in multicultural books\" width=\"800\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-768x287.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-1020x382.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-960x359.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-240x90.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-375x140.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-520x194.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee and Low Books is a rare publisher specializing in multicultural books. \u003ccite>(Photo: Courtesy of Lee and Low Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The publishing industry is not keeping pace with what the world really looks like and how it’s changing demographically,” said Jason Low, who runs \u003ca href=\"https://www.leeandlow.com/\" target=\"_blank\" rel=\"noopener\">Lee and Low Books\u003c/a>, the only major U.S. publisher specializing in multicultural books.\u003c/p>\n\u003ch3>Why the Numbers are Low\u003c/h3>\n\u003cp>“The barriers for the mainstream publishers are really about perception,” Low said in a phone interview. “There is a widely outdated but constantly reinforced belief out there that diverse books simply don’t sell, and that’s not true.”\u003c/p>\n\u003cp>That bias is getting a small test from one industry giant. Crown Books for Younger Readers, part of Penguin Random House, has just released an anthology called \u003ca href=\"http://www.penguinrandomhouse.com/books/530007/flying-lessons-and-other-stories-by-ellen-oh/9781101934593/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flying Lessons\u003c/em>\u003c/a>, edited by WNDB President \u003ca href=\"http://www.ellenoh.com/index1.html\" target=\"_blank\" rel=\"noopener\">Ellen Oh\u003c/a>, with profits going to the group. Phoebe Yeh is an editor with Crown.\u003c/p>\n\u003cp>“Finally people are waking up and realizing we need to figure this out together,” Yeh said.\u003c/p>\n\u003cp>Just as the #OscarsSoWhite social media campaign put pressure on Hollywood, We Need Diverse Books is pushing major kids book publishers to diversify.\u003c/p>\n\u003cp>“You know, maybe not this year,” Yeh said, “but in the next few years, the stats are going to look different.”\u003c/p>\n\u003cp>Megan Schliesman at the Cooperative Children’s Book Center said her fellow librarians have a responsibility as well, especially in a state where many work in small rural communities.\u003c/p>\n\u003cp>“If we are just letting those books sit on the shelf,” Schliesman said, “what message is it sending for kids in a predominantly white community about who we are collectively? Visibility says, ‘You matter. You matter in this classroom and school, you matter in this library, you matter in this community.’”\u003c/p>\n\u003ch3>What’s at Stake\u003c/h3>\n\u003cp>Many of those in the diverse kid-lit effort say the stakes are very high now, with a president who, they say, seems willing to scapegoat groups based on race or religion.\u003c/p>\n\u003cp>“I think the last year has shown us what can happen,” said Jason Low, “when someone in a leadership role dismisses large cross-sections of American based on ethnicity, gender and religious beliefs.\u003c/p>\n\u003cp>“I believe that if Donald Trump read diverse books while growing up, he would not be the same person he is today.”\u003c/p>\n\u003cp>That may seem a stretch, but back at the Dimond Library, I met Silwan Ali, a 13-year-old in a headscarf who came to story time with her little brother. I asked for her thoughts on Donald Trump, and his statements critical of Muslims.\u003c/p>\n\u003cp>“Yeah. I know Donald Trump,” she said. “Sometimes he really infuriates our feelings.” I asked her if it might change his mind if he read some of the books she’s reading about respecting diversity.\u003c/p>\n\u003cp>“It would mean to him a lot,” she said, “because he didn’t really know what our culture means.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"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>It’s story time at the \u003ca href=\"http://www.oaklandlibrary.org/locations/dimond-branch\" target=\"_blank\" rel=\"noopener\">Dimond Branch \u003c/a>of the Oakland Public Library, and librarian Miriam Medow sits before a group of about 30 kids and parents — black, white, Latino, Asian American and Arab American. First Medow leads them in a song where everyone gets to blow raspberries, and then she reads about the all-animal cast in\u003ca href=\"http://www.publishersweekly.com/978-0-316-20063-9\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Tiger Goes Wild\u003c/em>.\u003c/a> Medow says one of the toughest parts of her job is finding enough books that reflect this very diverse neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_12730328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg\" alt=\"Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1920x1311.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-1180x805.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/006-e1486754443442.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Librarian Miriam Medow runs the weekly story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That means a great variety of races and religions and sexualities and experiences of disability and so much more,” Medow said in an interview.\u003c/p>\n\u003cp>Every child, Medow said, quoting an old publishing ideal, should be able to read books that are both a window on the world, and a reflection of their own lives. But when I asked if she finds enough of those books, she said, “No. Never enough. Not yet.”\u003c/p>\n\u003cp>That’s a concern for Solomon Makoni, a Zimbabwean American with a white wife who brought their three year-old son Tadashe to Medow’s story time.\u003c/p>\n\u003cfigure id=\"attachment_12730329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730329\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg\" alt=\"Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/007-e1486754507632.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solomon Makoni and his son Tadashe at story time at the Dimond Branch of the Oakland Public Library. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We both want him to see himself in the books that he reads,” Makoni said. “To teach him he’s no different. And once you see yourself among your books, or see superheroes who look like you, then you can dream big.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More than half of U.S. children under the age of five are like Tadashe — children of color. But only about 14 percent of the kids’ books published in 2015 were authored by or featured people of color.\u003c/p>\n\u003cp>Those statistics come from the \u003ca href=\"https://ccbc.education.wisc.edu/\" target=\"_blank\" rel=\"noopener\">Cooperative Children’s Book Center at the University of Wisconsin\u003c/a>, where Megan Schliesman is a librarian, and has been tracking diversity numbers since 2002.\u003c/p>\n\u003cp>“And they’re always abysmally low,” Schliesman said.\u003c/p>\n\u003cp>The issue, Schliesman said, is one that comes up again and again among librarians and publishers at conferences on children’s books around the country.\u003c/p>\n\u003cp>“There are overall good intentions in the publishing industry,” Schliesman said, “but I think there is a big gap between those good intentions and the reality of what is being published for children and teenagers.”\u003c/p>\n\u003ch3>Two Local Startups\u003c/h3>\n\u003cp>Back in Oakland, Janine Macbeth is trying to close that gap.\u003c/p>\n\u003cp>“I can attest to the fact that our communities are hungry for these books,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12730894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg\" alt=\"Janine Macbeth, founder and publisher of Blood Orange Press\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1920x1314.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-1180x808.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-960x657.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964-520x356.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/001-e1486754390964.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janine Macbeth, founder and publisher of Blood Orange Press. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Macbeth is the founder of \u003ca href=\"http://www.bloodorangepress.com/\" target=\"_blank\" rel=\"noopener\">Blood Orange Press\u003c/a>, a kids book publisher devoted to making kid-lit more diverse, and we’re sitting in her office and studio, really the walk-in closet of her bedroom.\u003c/p>\n\u003cp>Macbeth, who lives just a few blocks from the Dimond Library, shows me an illustration for one of the three books she’s published, a story about a Latino boy who defies gender rules. “The author, Laurin Mayeno, based the book on her son,” Macbeth said, “who, when he was in preschool, wanted to be a princess for the school parade.”\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/mMDkCxRjq2I'\n title='//www.youtube.com/embed/mMDkCxRjq2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Macbeth is mixed race, Chinese American on her mom’s side, African American on her dad’s. She loved libraries and books as a kid. “But I noticed that my community wasn’t reflected in the books,” she said, choking up a bit. “So I started to think that books weren’t an option for me, because of my race.”\u003c/p>\n\u003cp>She gave up her dream in college, but a few years ago, Macbeth said, she worked up her courage and founded Blood Orange Press with a small Kickstarter campaign. “I’m going to create an institution that embraces our stories, and sees them as worthy of being shared.”\u003c/p>\n\u003cp>Macbeth’s print runs are tiny, just five to 10 thousand books. But she’s part of a ripple of change in the big ocean of publishing. Across the bay in San Francisco, there’s another ripple from Maya Christina Gonzalez.\u003c/p>\n\u003cp>“I always joke that they accidentally let me in, as a radical, queer, Chicana,” Gonzalez said. “I’m not the normal voice you tend to hear.”\u003c/p>\n\u003cfigure id=\"attachment_12730327\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12730327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg\" alt=\"Maya Christina Gonzalez with some her self-published books in her Mission District studio\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1920x1284.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/005-e1486754593454.jpg 2012w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maya Christina Gonzalez with some her self-published books in her Mission District studio \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gonzalez runs \u003ca href=\"http://www.reflectionpress.com/\" target=\"_blank\" rel=\"noopener\">Reflection Press\u003c/a> out of a tiny Mission District Studio, where we talked while slightly crouched under the low ceiling and surrounded by dolls and mirrors and fabrics to inspire Gonzalez’s illustrations. She’s an award-winning illustrator and author, writing and illustrating 20 multicultural books for traditional publishers, and more at her own press. The newest book from Reflection Press, written the day after the fall election, is \u003ca href=\"http://www.reflectionpress.com/our-books/when-a-bully-is-president/\" target=\"_blank\" rel=\"noopener\">\u003cem>When a Bully Becomes President.\u003c/em> \u003c/a>\u003c/p>\n\u003ch3>A Nationwide Movement\u003c/h3>\n\u003cp>These two Bay Area startups aren’t so alone: they’re part of a recent wave of attention for diversity in kids books, led by \u003ca href=\"http://weneeddiversebooks.org/\" target=\"_blank\" rel=\"noopener\">We Need Diverse Books\u003c/a> (WNDB), a two year-old social media network with more than thirty thousand followers. The group came together after a 2014 publishing conference featuring an all-white, all-male children’s literacy panel.\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/mrrh0G-OkBw'\n title='//www.youtube.com/embed/mrrh0G-OkBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“And social media gave a visual to the message,” said Dhonielle Clayton, an African American author in New York City who is also Chief Operating Officer for WNDB. “So we got to see a lot of different kinds of kids, and different kinds of families on Facebook and Snapchat. And we’d hear from teenagers and kids saying things like, ‘I’m in a wheelchair, and yes, I would love to be the hero of my own story.’”\u003c/p>\n\u003cp>Clayton said WNDB has set up a fund to provide grants to writers of color, and help pay for internships in the publishing industry, which is dominated by straight, white women.\u003c/p>\n\u003cfigure id=\"attachment_12749157\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12749157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg\" alt=\"Lee and Low Books is a rare publisher specializing in multicultural books\" width=\"800\" height=\"299\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-800x299.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-768x287.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-1020x382.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-960x359.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-240x90.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-375x140.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low-520x194.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lee-and-Low.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee and Low Books is a rare publisher specializing in multicultural books. \u003ccite>(Photo: Courtesy of Lee and Low Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The publishing industry is not keeping pace with what the world really looks like and how it’s changing demographically,” said Jason Low, who runs \u003ca href=\"https://www.leeandlow.com/\" target=\"_blank\" rel=\"noopener\">Lee and Low Books\u003c/a>, the only major U.S. publisher specializing in multicultural books.\u003c/p>\n\u003ch3>Why the Numbers are Low\u003c/h3>\n\u003cp>“The barriers for the mainstream publishers are really about perception,” Low said in a phone interview. “There is a widely outdated but constantly reinforced belief out there that diverse books simply don’t sell, and that’s not true.”\u003c/p>\n\u003cp>That bias is getting a small test from one industry giant. Crown Books for Younger Readers, part of Penguin Random House, has just released an anthology called \u003ca href=\"http://www.penguinrandomhouse.com/books/530007/flying-lessons-and-other-stories-by-ellen-oh/9781101934593/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flying Lessons\u003c/em>\u003c/a>, edited by WNDB President \u003ca href=\"http://www.ellenoh.com/index1.html\" target=\"_blank\" rel=\"noopener\">Ellen Oh\u003c/a>, with profits going to the group. Phoebe Yeh is an editor with Crown.\u003c/p>\n\u003cp>“Finally people are waking up and realizing we need to figure this out together,” Yeh said.\u003c/p>\n\u003cp>Just as the #OscarsSoWhite social media campaign put pressure on Hollywood, We Need Diverse Books is pushing major kids book publishers to diversify.\u003c/p>\n\u003cp>“You know, maybe not this year,” Yeh said, “but in the next few years, the stats are going to look different.”\u003c/p>\n\u003cp>Megan Schliesman at the Cooperative Children’s Book Center said her fellow librarians have a responsibility as well, especially in a state where many work in small rural communities.\u003c/p>\n\u003cp>“If we are just letting those books sit on the shelf,” Schliesman said, “what message is it sending for kids in a predominantly white community about who we are collectively? Visibility says, ‘You matter. You matter in this classroom and school, you matter in this library, you matter in this community.’”\u003c/p>\n\u003ch3>What’s at Stake\u003c/h3>\n\u003cp>Many of those in the diverse kid-lit effort say the stakes are very high now, with a president who, they say, seems willing to scapegoat groups based on race or religion.\u003c/p>\n\u003cp>“I think the last year has shown us what can happen,” said Jason Low, “when someone in a leadership role dismisses large cross-sections of American based on ethnicity, gender and religious beliefs.\u003c/p>\n\u003cp>“I believe that if Donald Trump read diverse books while growing up, he would not be the same person he is today.”\u003c/p>\n\u003cp>That may seem a stretch, but back at the Dimond Library, I met Silwan Ali, a 13-year-old in a headscarf who came to story time with her little brother. I asked for her thoughts on Donald Trump, and his statements critical of Muslims.\u003c/p>\n\u003cp>“Yeah. I know Donald Trump,” she said. “Sometimes he really infuriates our feelings.” I asked her if it might change his mind if he read some of the books she’s reading about respecting diversity.\u003c/p>\n\u003cp>“It would mean to him a lot,” she said, “because he didn’t really know what our culture means.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art",
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"headTitle": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art | KQED",
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"content": "\u003cp>The debate over the removal of controversial art from a San Jose school district office has reached the next level: lawyers. \u003c/p>\n\u003cp>[contextly_sidebar id=”jOg5mwMtH6yKPGD1zKCwfWFtS8IZOE3i”]\u003c/p>\n\u003cp>The American Civil Liberties Union (ACLU) of Northern California sent a letter Friday to the East Side Union High School District that urges its superintendent to rehang a series of 11 paintings by San Francisco artist Mark Harris. The pieces, which depict scenes of racial injustice and hung in celebration of Black History Month, were taken down after parents complained, \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">according to district administrators.\u003c/a> \u003c/p>\n\u003cp>“We’re demanding this art depicting racial injustice be returned to the walls,” \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830125065295368192\" target=\"_blank\" rel=\"noopener\">the ACLU tweeted\u003c/a>. \u003c/p>\n\u003cp>In a post on its website, the ACLU of Northern California wrote that for the past three years, the school district has celebrated Black History Month by displaying art that does the same. This year, Reverend Jeff Moore, president of the San Jose/Silicon Valley Branch of the NAACP, chose Harris to provide some of his work for the exhibit, which he did. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the art was apparently intolerable for Superintendent Chris Funk. Despite lacking any school policy or constitutional basis for removal, he had 11 paintings removed just hours after they were displayed,” \u003ca href=\"https://www.aclunc.org/article/black-history-month-artwork-banned-san-jose-superintendent\" target=\"_blank\" rel=\"noopener\">the post read\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12709109\" 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/RS23970_Proverbs-22-v6-001-qut-800x450.jpg\" alt='Detail of \"Proverbs 22 v6\" by San Francisco visual artist Mark Harris. This is one 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month.' width=\"800\" height=\"450\" class=\"size-medium wp-image-12709109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Proverbs 22 v6” by San Francisco visual artist Mark Harris. This is one of 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Funk’s reasoning was that the district shouldn’t take a political stance, which Harris called “ridiculous.” Harris described the work as “agitprop” and intended the display to be thought-provoking.\u003c/p>\n\u003cp>“It’s not something you’re going to walk by and not have a second thought about,” Harris said.\u003c/p>\n\u003cp>In response, Funk said he was sorry that Harris was “caught up in a situation where Mr. Moore was not upfront” and that Harris was a talented artist.\u003c/p>\n\u003cp>“I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down,” Funk said.\u003c/p>\n\u003cp>The ACLU’s letter said that the organization appreciates the district’s celebration of Black History Month, but Funk determining which views of African American life are “acceptable” is censorship. \u003c/p>\n\u003cp>“Given the richness of that history and the diversity of perspectives that experience has engendered, however, there is no one ‘acceptable’ way to represent this truth,” the ACLU’s letter read. “Additionally, it is unacceptable to refuse to permit speech or expression because it might offend some.”\u003c/p>\n\u003cp>Beyond sending the letter to the school district, the \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830147228350046208\" target=\"_blank\" rel=\"noopener\">ACLU has called\u003c/a> on the public to phone Funk and tell him “that he doesn’t get to decide what the black experience looks like.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/20170210-ncac_aclu_letter_to_superintendent_funk.pdf\">Read the ACLU’s letter to the East Side Union High School District.\u003c/a>\u003c/p>\n\n",
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"title": "NorCal ACLU Urges San Jose School District to Rehang Controversial Art | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The debate over the removal of controversial art from a San Jose school district office has reached the next level: lawyers. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The American Civil Liberties Union (ACLU) of Northern California sent a letter Friday to the East Side Union High School District that urges its superintendent to rehang a series of 11 paintings by San Francisco artist Mark Harris. The pieces, which depict scenes of racial injustice and hung in celebration of Black History Month, were taken down after parents complained, \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/black-history-month-art-removed-after-parents-complain/\" target=\"_blank\" rel=\"noopener\">according to district administrators.\u003c/a> \u003c/p>\n\u003cp>“We’re demanding this art depicting racial injustice be returned to the walls,” \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830125065295368192\" target=\"_blank\" rel=\"noopener\">the ACLU tweeted\u003c/a>. \u003c/p>\n\u003cp>In a post on its website, the ACLU of Northern California wrote that for the past three years, the school district has celebrated Black History Month by displaying art that does the same. This year, Reverend Jeff Moore, president of the San Jose/Silicon Valley Branch of the NAACP, chose Harris to provide some of his work for the exhibit, which he did. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the art was apparently intolerable for Superintendent Chris Funk. Despite lacking any school policy or constitutional basis for removal, he had 11 paintings removed just hours after they were displayed,” \u003ca href=\"https://www.aclunc.org/article/black-history-month-artwork-banned-san-jose-superintendent\" target=\"_blank\" rel=\"noopener\">the post read\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12709109\" 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/RS23970_Proverbs-22-v6-001-qut-800x450.jpg\" alt='Detail of \"Proverbs 22 v6\" by San Francisco visual artist Mark Harris. This is one 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month.' width=\"800\" height=\"450\" class=\"size-medium wp-image-12709109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/RS23970_Proverbs-22-v6-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Proverbs 22 v6” by San Francisco visual artist Mark Harris. This is one of 11 paintings initially up in the administrative offices of the East Side Union High School District for African American History Month. \u003ccite>(Photo: Courtesy of Mark Harris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, Funk’s reasoning was that the district shouldn’t take a political stance, which Harris called “ridiculous.” Harris described the work as “agitprop” and intended the display to be thought-provoking.\u003c/p>\n\u003cp>“It’s not something you’re going to walk by and not have a second thought about,” Harris said.\u003c/p>\n\u003cp>In response, Funk said he was sorry that Harris was “caught up in a situation where Mr. Moore was not upfront” and that Harris was a talented artist.\u003c/p>\n\u003cp>“I didn’t have a chance to review the art beforehand. It was just — smack, hit you in the face — when you walked in. That’s why I took it down,” Funk said.\u003c/p>\n\u003cp>The ACLU’s letter said that the organization appreciates the district’s celebration of Black History Month, but Funk determining which views of African American life are “acceptable” is censorship. \u003c/p>\n\u003cp>“Given the richness of that history and the diversity of perspectives that experience has engendered, however, there is no one ‘acceptable’ way to represent this truth,” the ACLU’s letter read. “Additionally, it is unacceptable to refuse to permit speech or expression because it might offend some.”\u003c/p>\n\u003cp>Beyond sending the letter to the school district, the \u003ca href=\"https://twitter.com/ACLU_NorCal/status/830147228350046208\" target=\"_blank\" rel=\"noopener\">ACLU has called\u003c/a> on the public to phone Funk and tell him “that he doesn’t get to decide what the black experience looks like.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/20170210-ncac_aclu_letter_to_superintendent_funk.pdf\">Read the ACLU’s letter to the East Side Union High School District.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Big Tech's Quarterly Reports Say About the Future of Music",
"headTitle": "What Big Tech’s Quarterly Reports Say About the Future of Music | KQED",
"content": "\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" 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/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" 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/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \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=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The past week brought a slew of high-level financial filings from tech and music companies — from which we read the tea leaves.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" 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/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" 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/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \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=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At 74, the Queen of Soul has decided to take it a little easier.\u003c/p>\n\u003cp>Aretha Franklin is planning to retire this year, she told Detroit TV station WDIV Local 4, the city’s NBC affiliate. The singer says she will make one more album, with several tracks produced by Stevie Wonder, and will otherwise limit herself to “some select things, many one a month, for six months out of the year” as she devotes more time to her grandchildren. She also says 2017 will be her “last year in concert.”\u003c/p>\n\u003cp>“This will be my last year,” Franklin said. “I will be recording, but this will be my last year in concert. This is it.”\u003c/p>\n\u003cp>On Thursday, a representative for Franklin confirmed her remarks made to WDIV.\u003c/p>\n\u003cp>Franklin, whose many hits include “Respect” and “Think,” added that she did not want to do “just nothing.” But she said that she is otherwise “very satisfied” with her career and is ready to step back. She has had health problems in recent years, including surgery in 2010 for undisclosed reasons that left many fearing her life was in danger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel very, very enriched and satisfied with respect to where my career came from, and where it is now,” Franklin said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her presumed last album would be a kind of homecoming. Franklin and Wonder, a fellow Detroit hero, have known each other for decades. In the 1970s, she had a hit with a cover of “Until You Come Back to Me (That’s What I’m Gonna Do),” which Wonder helped write.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 74, the Queen of Soul has decided to take it a little easier.\u003c/p>\n\u003cp>Aretha Franklin is planning to retire this year, she told Detroit TV station WDIV Local 4, the city’s NBC affiliate. The singer says she will make one more album, with several tracks produced by Stevie Wonder, and will otherwise limit herself to “some select things, many one a month, for six months out of the year” as she devotes more time to her grandchildren. She also says 2017 will be her “last year in concert.”\u003c/p>\n\u003cp>“This will be my last year,” Franklin said. “I will be recording, but this will be my last year in concert. This is it.”\u003c/p>\n\u003cp>On Thursday, a representative for Franklin confirmed her remarks made to WDIV.\u003c/p>\n\u003cp>Franklin, whose many hits include “Respect” and “Think,” added that she did not want to do “just nothing.” But she said that she is otherwise “very satisfied” with her career and is ready to step back. She has had health problems in recent years, including surgery in 2010 for undisclosed reasons that left many fearing her life was in danger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel very, very enriched and satisfied with respect to where my career came from, and where it is now,” Franklin said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her presumed last album would be a kind of homecoming. Franklin and Wonder, a fellow Detroit hero, have known each other for decades. In the 1970s, she had a hit with a cover of “Until You Come Back to Me (That’s What I’m Gonna Do),” which Wonder helped write.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies",
"headTitle": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies | KQED",
"content": "\u003cp>President Trump \u003ca href=\"https://www.nytimes.com/2017/01/21/us/politics/trump-white-house-briefing-inauguration-crowd-size.html\" target=\"_blank\" rel=\"noopener\">says\u003c/a> he has a “running war with the media,” and that might as well include the funny pages. Comic strip artists have authored some of the sharpest political commentary directed against the President and his policies.\u003c/p>\n\u003cfigure id=\"attachment_12735591\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg\" alt=\"Darrin Bell's 'Candorville' is one of the fiercest and funniest comic-page critics of President Donald Trump. \" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Darrin Bell’s ‘Candorville’ is one of the fiercest and funniest comic-page critics of President Donald Trump. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Never normalize him,” says cartoonist Darrin Bell, the creator of \u003cem>\u003ca href=\"http://candorville.com/\" target=\"_blank\" rel=\"noopener\">Candorville\u003c/a>\u003c/em>, a daily strip that has frequently mocked the President as well as his predecessors, and often explores race and gender issues. “I gave him the benefit of the doubt, until he launched his campaign by calling Mexican illegal immigrants ‘rapists’ and ‘murderers,’ and it only got worse from there.”\u003c/p>\n\u003cp>Bell launched \u003cem>Candorville\u003c/em> in 2003, and it now appears in more than 100 newspapers around the country, including the \u003cem>San Francisco Chronicle\u003c/em> and the \u003cem>San Jose Mercury News\u003c/em>. The Los Angeles resident and University of California Berkeley grad recently won the\u003ca href=\"http://nationalpress.org/awards/clifford-k-james-t-berryman-award-for-editorial-cartoons/\" target=\"_blank\" rel=\"noopener\"> 2016 Clifford K. and James T. Berryman Award\u003c/a> for the editorial cartoons he also draws for the \u003cem>Washington Post\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PmpqJqLTyQU\u003c/p>\n\u003cp>Bell is both African American and Jewish, an identity that he says makes him one of the first people in the room to recognize Trump’s bigotry. “Or maybe it’s more accurate to say I’m the last one in the room who has the luxury of ignoring it,” Bell says. “And Donald Trump’s actions have been screaming bigotry long before he insisted the first black president produce not only his birth certificate, but his college transcripts and his college application. Trump’s actions have been screaming bigotry ever since his company denied housing to minorities in the 1970s.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Multi-racial cast of characters\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Candorville\u003c/em> features a multi-racial cast, headed by Bell’s alter-ego, Lemont Brown, an African American single dad and deeply committed Trekkie and science nerd. Brown is also a freelance reporter, giving Bell the chance to comment on Trump’s antipathy for journalists.\u003c/p>\n\u003cfigure id=\"attachment_12735589\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg\" alt=\"Candorville's Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan Garcia and Clyde, the street hustler\" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville’s Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan and Clyde, an ad executive and a street hustler. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lemont felt that being insulted by Trump was a rite of passage,” Bell says. “He wasn’t actually a real journalist until he made it happen. But after he was forcibly ejected by his underwear from a press conference, Trump hasn’t so much as called him a ‘loser’ once.”\u003c/p>\n\u003cp>Brown spends a lot of time hanging out with his friends from childhood, Susan Garcia, an ad executive, and Clyde, a street hustler. In one of the most memorable strips, Clyde talks about getting back at a Trump supporter who calls him the “N” word.\u003c/p>\n\u003cfigure id=\"attachment_12735599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12735599\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg\" alt=\"Clyde the street hustler shows a remarkable sophistication about street politics\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-240x117.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-375x182.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-520x252.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clyde the street hustler shows a remarkable sophistication about street politics. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had my most cynical character live out exactly how I thought I would deal with that kind of harassment if it were to happen to me,” Bell says. “And as I often do with Clyde, I used it as an opportunity to challenge readers’ preconceptions about people who look like Clyde.”\u003c/p>\n\u003cp>\u003cstrong>Comics not always a place for politics\u003c/strong>\u003c/p>\n\u003cp>The comics pages were once off-limits for political commentary. But in the 1950s, Walt Kelly’s \u003cem>Pogo\u003c/em> took on red-baiting Senator Joseph McCarthy and then-Congressman Richard Nixon. (Kelly later caricatured Nixon, by then president, as a spider, spinning webs of deceit, and \u003ca href=\"http://viceprezofmurrica.tumblr.com/post/142523432088/the-spiro-of-76-spiro-agnew-as-a-hyena-in-pogo\" target=\"_blank\" rel=\"noopener\">Vice President Spiro Agnew as a hyena\u003c/a>).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Charles Schulz’s \u003cem>Peanuts\u003c/em> \u003ca href=\"http://time.com/3453647/peanuts-commentary/\" target=\"_blank\" rel=\"noopener\">tackled race\u003c/a> in its characteristically gentle way; and Gary Trudeau has been lampooning political figures (starting with Nixon) in \u003ca href=\"http://doonesbury.washingtonpost.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Doonesbury\u003c/em>\u003c/a> since it was first syndicated in 1970, often earning the strip banishment to the editorial pages. Bell’s contemporary Keith Knight, another African American cartoonist, also writes about politics in his daily strip \u003cem>\u003ca href=\"http://www.gocomics.com/theknightlife\" target=\"_blank\" rel=\"noopener\">The Knight Life.\u003c/a> \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12735602\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Doonesbury.gif\" alt=\"Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings\" width=\"504\" height=\"170\">\u003cfigcaption class=\"wp-caption-text\">Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings. \u003ccite>(Photo: Courtesy of Gary Trudeau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Bell says he doesn’t owe a debt to these pioneers only. He cites as inspiration the neglected work of Jay Jackson, who created the strip \u003ca href=\"http://strippersguide.blogspot.com/2017/01/a-sampling-of-bungleton-green.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Bungleton Green\u003c/em>\u003c/a> for the \u003cem>Chicago Defender, \u003c/em>America’s top black newspaper in the 1930s, as well as artists outside the world of cartooning.\u003c/p>\n\u003cp>“I feel like we all owe a debt to Honoré Daumier, to Mark Twain, to the court jester, to Aristophanes,” Bell says. “We actually all owe a debt to the very first hairy person who drew a funny picture on a cave wall about a mammoth-hunt gone wrong.”\u003c/p>\n\u003cfigure id=\"attachment_12735604\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735604\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg\" alt=\"Candorville comments on the history of politics in comic strips\" width=\"725\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-240x115.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-375x179.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-520x249.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville comments on the history of politics in comic strips \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As well as seeing cartooning as one of the oldest art forms, he also considers it to have a long future. “32,000 years from now, long after all of us are completely forgotten, political satire will still be there,” Bell says. “Because humanity will always, always produce smart-asses.”\u003c/p>\n\n",
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"excerpt": "The award-winning cartoonist and UC Berkeley grad is part of a long line of artists who've authored sharp political commentary directed against presidents and their policies.",
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"title": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies | KQED",
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"headline": "Darrin Bell’s ‘Candorville’ a Comics-Page Commentary on Trump Policies",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Trump \u003ca href=\"https://www.nytimes.com/2017/01/21/us/politics/trump-white-house-briefing-inauguration-crowd-size.html\" target=\"_blank\" rel=\"noopener\">says\u003c/a> he has a “running war with the media,” and that might as well include the funny pages. Comic strip artists have authored some of the sharpest political commentary directed against the President and his policies.\u003c/p>\n\u003cfigure id=\"attachment_12735591\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735591\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg\" alt=\"Darrin Bell's 'Candorville' is one of the fiercest and funniest comic-page critics of President Donald Trump. \" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Darrin Bell’s ‘Candorville’ is one of the fiercest and funniest comic-page critics of President Donald Trump. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Never normalize him,” says cartoonist Darrin Bell, the creator of \u003cem>\u003ca href=\"http://candorville.com/\" target=\"_blank\" rel=\"noopener\">Candorville\u003c/a>\u003c/em>, a daily strip that has frequently mocked the President as well as his predecessors, and often explores race and gender issues. “I gave him the benefit of the doubt, until he launched his campaign by calling Mexican illegal immigrants ‘rapists’ and ‘murderers,’ and it only got worse from there.”\u003c/p>\n\u003cp>Bell launched \u003cem>Candorville\u003c/em> in 2003, and it now appears in more than 100 newspapers around the country, including the \u003cem>San Francisco Chronicle\u003c/em> and the \u003cem>San Jose Mercury News\u003c/em>. The Los Angeles resident and University of California Berkeley grad recently won the\u003ca href=\"http://nationalpress.org/awards/clifford-k-james-t-berryman-award-for-editorial-cartoons/\" target=\"_blank\" rel=\"noopener\"> 2016 Clifford K. and James T. Berryman Award\u003c/a> for the editorial cartoons he also draws for the \u003cem>Washington Post\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PmpqJqLTyQU'\n title='//www.youtube.com/embed/PmpqJqLTyQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell is both African American and Jewish, an identity that he says makes him one of the first people in the room to recognize Trump’s bigotry. “Or maybe it’s more accurate to say I’m the last one in the room who has the luxury of ignoring it,” Bell says. “And Donald Trump’s actions have been screaming bigotry long before he insisted the first black president produce not only his birth certificate, but his college transcripts and his college application. Trump’s actions have been screaming bigotry ever since his company denied housing to minorities in the 1970s.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Multi-racial cast of characters\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Candorville\u003c/em> features a multi-racial cast, headed by Bell’s alter-ego, Lemont Brown, an African American single dad and deeply committed Trekkie and science nerd. Brown is also a freelance reporter, giving Bell the chance to comment on Trump’s antipathy for journalists.\u003c/p>\n\u003cfigure id=\"attachment_12735589\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735589\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg\" alt=\"Candorville's Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan Garcia and Clyde, the street hustler\" width=\"725\" height=\"244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-240x81.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-375x126.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Trump-2-520x175.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville’s Lemont Brown is a freelance reporter who spends a lot of time with his friends Susan and Clyde, an ad executive and a street hustler. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Lemont felt that being insulted by Trump was a rite of passage,” Bell says. “He wasn’t actually a real journalist until he made it happen. But after he was forcibly ejected by his underwear from a press conference, Trump hasn’t so much as called him a ‘loser’ once.”\u003c/p>\n\u003cp>Brown spends a lot of time hanging out with his friends from childhood, Susan Garcia, an ad executive, and Clyde, a street hustler. In one of the most memorable strips, Clyde talks about getting back at a Trump supporter who calls him the “N” word.\u003c/p>\n\u003cfigure id=\"attachment_12735599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12735599\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg\" alt=\"Clyde the street hustler shows a remarkable sophistication about street politics\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-240x117.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-375x182.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip-520x252.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-Clyde-iPhone-strip.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Clyde the street hustler shows a remarkable sophistication about street politics. \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had my most cynical character live out exactly how I thought I would deal with that kind of harassment if it were to happen to me,” Bell says. “And as I often do with Clyde, I used it as an opportunity to challenge readers’ preconceptions about people who look like Clyde.”\u003c/p>\n\u003cp>\u003cstrong>Comics not always a place for politics\u003c/strong>\u003c/p>\n\u003cp>The comics pages were once off-limits for political commentary. But in the 1950s, Walt Kelly’s \u003cem>Pogo\u003c/em> took on red-baiting Senator Joseph McCarthy and then-Congressman Richard Nixon. (Kelly later caricatured Nixon, by then president, as a spider, spinning webs of deceit, and \u003ca href=\"http://viceprezofmurrica.tumblr.com/post/142523432088/the-spiro-of-76-spiro-agnew-as-a-hyena-in-pogo\" target=\"_blank\" rel=\"noopener\">Vice President Spiro Agnew as a hyena\u003c/a>).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Charles Schulz’s \u003cem>Peanuts\u003c/em> \u003ca href=\"http://time.com/3453647/peanuts-commentary/\" target=\"_blank\" rel=\"noopener\">tackled race\u003c/a> in its characteristically gentle way; and Gary Trudeau has been lampooning political figures (starting with Nixon) in \u003ca href=\"http://doonesbury.washingtonpost.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Doonesbury\u003c/em>\u003c/a> since it was first syndicated in 1970, often earning the strip banishment to the editorial pages. Bell’s contemporary Keith Knight, another African American cartoonist, also writes about politics in his daily strip \u003cem>\u003ca href=\"http://www.gocomics.com/theknightlife\" target=\"_blank\" rel=\"noopener\">The Knight Life.\u003c/a> \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12735602\" class=\"wp-caption aligncenter\" style=\"max-width: 504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Doonesbury.gif\" alt=\"Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings\" width=\"504\" height=\"170\">\u003cfigcaption class=\"wp-caption-text\">Doonesbury was a harsh critic of Richard Nixon during the Watergate hearings. \u003ccite>(Photo: Courtesy of Gary Trudeau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Bell says he doesn’t owe a debt to these pioneers only. He cites as inspiration the neglected work of Jay Jackson, who created the strip \u003ca href=\"http://strippersguide.blogspot.com/2017/01/a-sampling-of-bungleton-green.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Bungleton Green\u003c/em>\u003c/a> for the \u003cem>Chicago Defender, \u003c/em>America’s top black newspaper in the 1930s, as well as artists outside the world of cartooning.\u003c/p>\n\u003cp>“I feel like we all owe a debt to Honoré Daumier, to Mark Twain, to the court jester, to Aristophanes,” Bell says. “We actually all owe a debt to the very first hairy person who drew a funny picture on a cave wall about a mammoth-hunt gone wrong.”\u003c/p>\n\u003cfigure id=\"attachment_12735604\" class=\"wp-caption aligncenter\" style=\"max-width: 725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735604\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg\" alt=\"Candorville comments on the history of politics in comic strips\" width=\"725\" height=\"347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips.jpg 725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-160x77.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-240x115.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-375x179.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Candorville-comments-on-the-history-of-politics-in-comic-strips-520x249.jpg 520w\" sizes=\"(max-width: 725px) 100vw, 725px\">\u003cfigcaption class=\"wp-caption-text\">Candorville comments on the history of politics in comic strips \u003ccite>(Photo: Courtesy of Darrin Bell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As well as seeing cartooning as one of the oldest art forms, he also considers it to have a long future. “32,000 years from now, long after all of us are completely forgotten, political satire will still be there,” Bell says. “Because humanity will always, always produce smart-asses.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Spinal Tap Bandmates Join Lawsuit Over Film's Profits",
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"content": "\u003cp>Spinal Tap has reunited — this time in a Los Angeles court to challenge the French studio Vivendi S.A. for millions in profits from the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Christopher Guest, Michael McKean and Rob Reiner on Tuesday joined a federal lawsuit filed by bandmate and Spinal Tap co-creator Harry Shearer.\u003c/p>\n\u003cp>Shearer, who also voices numerous characters on \u003cem>The Simpsons\u003c/em>, sued Vivendi S.A. and its subsidiary StudioCanal in October alleging the companies fraudulently withheld profits and the rights to the characters from the 1984 film. Reiner directed and narrated the classic satire of a fictional British rock band on the decline, whose hits included the songs “Sex Farm” and “Stonehenge.”\u003c/p>\n\u003cp>Guest and McKean have teamed up on other satire films, including “Best in Show” and “A Mighty Wind,” in which they were joined by Shearer.\u003c/p>\n\u003cp>“What makes this case so egregious is the prolonged and deliberate concealment of profit and the purposeful manipulation of revenue allocation between various Vivendi subsidiaries – to the detriment of the creative talent behind the band and film,” Reiner wrote in a statement. “Such anti-competitive practices need to be exposed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am hoping this lawsuit goes to 11,” Reiner wrote, borrowing a line from the film.\u003c/p>\n\u003cp>“\u003cem>This is Spinal Tap\u003c/em> was the result of four very stubborn guys working very hard to create something new under the sun,” McKean wrote in a statement. “The movie’s influence on the last three decades of film comedy is something we are very proud of. But the buck always stopped somewhere short of Rob, Harry, Chris and myself. It’s time for a reckoning. It’s only right.”\u003c/p>\n\u003cp>Vivendi declined comment, citing a policy against discussing pending litigation.\u003c/p>\n\u003cp>The lawsuit also seeks certain rights to the film, including trademarks on the band’s name and the name of Shearer’s character, Derek Smalls.\u003c/p>\n\u003cp>His lawsuit initially sought $125 million in damages, but the amended complaint seeks $400 million. A jury would determine the amount of any judgment.\u003c/p>\n\u003cp>The four co-creators have been told that their share of Spinal Tap profits were $81 in merchandise profits between 1984 and 2013, and $98 in music royalties for the same years, the lawsuit states. It contends Vivendi hasn’t produced detailed figures since 2013.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\n",
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"excerpt": "The plaintiffs hope that this $400-million lawsuit against a French studio \"goes to 11.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spinal Tap has reunited — this time in a Los Angeles court to challenge the French studio Vivendi S.A. for millions in profits from the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Christopher Guest, Michael McKean and Rob Reiner on Tuesday joined a federal lawsuit filed by bandmate and Spinal Tap co-creator Harry Shearer.\u003c/p>\n\u003cp>Shearer, who also voices numerous characters on \u003cem>The Simpsons\u003c/em>, sued Vivendi S.A. and its subsidiary StudioCanal in October alleging the companies fraudulently withheld profits and the rights to the characters from the 1984 film. Reiner directed and narrated the classic satire of a fictional British rock band on the decline, whose hits included the songs “Sex Farm” and “Stonehenge.”\u003c/p>\n\u003cp>Guest and McKean have teamed up on other satire films, including “Best in Show” and “A Mighty Wind,” in which they were joined by Shearer.\u003c/p>\n\u003cp>“What makes this case so egregious is the prolonged and deliberate concealment of profit and the purposeful manipulation of revenue allocation between various Vivendi subsidiaries – to the detriment of the creative talent behind the band and film,” Reiner wrote in a statement. “Such anti-competitive practices need to be exposed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am hoping this lawsuit goes to 11,” Reiner wrote, borrowing a line from the film.\u003c/p>\n\u003cp>“\u003cem>This is Spinal Tap\u003c/em> was the result of four very stubborn guys working very hard to create something new under the sun,” McKean wrote in a statement. “The movie’s influence on the last three decades of film comedy is something we are very proud of. But the buck always stopped somewhere short of Rob, Harry, Chris and myself. It’s time for a reckoning. It’s only right.”\u003c/p>\n\u003cp>Vivendi declined comment, citing a policy against discussing pending litigation.\u003c/p>\n\u003cp>The lawsuit also seeks certain rights to the film, including trademarks on the band’s name and the name of Shearer’s character, Derek Smalls.\u003c/p>\n\u003cp>His lawsuit initially sought $125 million in damages, but the amended complaint seeks $400 million. A jury would determine the amount of any judgment.\u003c/p>\n\u003cp>The four co-creators have been told that their share of Spinal Tap profits were $81 in merchandise profits between 1984 and 2013, and $98 in music royalties for the same years, the lawsuit states. It contends Vivendi hasn’t produced detailed figures since 2013.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hey Bay Area! What's with all the Contemporary Opera in February?",
"headTitle": "Hey Bay Area! What’s with all the Contemporary Opera in February? | KQED",
"content": "\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n",
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"excerpt": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
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"description": "From West Edge Opera in Berkeley to Opera San José to San Francisco performances from Opera Parallèle, the Bay Area is aflame with vocal pyrotechnics this month.",
"title": "Hey Bay Area! What's with all the Contemporary Opera in February? | KQED",
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"headline": "Hey Bay Area! What's with all the Contemporary Opera in February?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many contemporary operas happening in the Bay Area in February, it looks like we might have an all-out regional festival on our hands.\u003c/p>\n\u003cp>While this operatic flowering is more or less a happy coincidence, the fact that the San Francisco Opera (SF Opera) isn’t in season right now means that smaller companies can attract singers, directors, and musicians to work on innovative repertoire in more intimate spaces.\u003c/p>\n\u003cp>Here is the lowdown on a few upcoming productions.\u003c/p>\n\u003cfigure id=\"attachment_12704572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg\" alt=\"Nikki Einfeld as the Controller in Opera Parallele's 2017 production of ‘Flight’.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/flight_publicity9037-Nikki-Einfeld-photo-by-Steve-DiBartolomeo-e1486074778511.jpg 1336w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Einfeld as the Controller in Opera Parallele’s 2017 production of ‘Flight.’ \u003ccite>(Photo: Steve DiBartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–12: \u003ca href=\"https://operaparallele.org/flight/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle presents \u003cem>Flight\u003c/em> \u003c/a>at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>British composer \u003ca href=\"http://www.jonathandove.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Dove\u003c/a>’s timely 1998 work tells the true story of Iranian refugee Mehran Karimi Nasseri who lived at Charles de Gaulle airport for almost 18 years. Nasseri was unable to exit the French airport because he lacked documentation — and, being a stateless person, he had no country of origin to return to, either.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opera Parallèle’s take on Dove’s darkly comic opera stars up-and-coming American countertenor Tai Oney, who goes on to sing in Berlin and Aix-en-Provence later this year. Oney shares the stage in this production with a slew of talented, former SF Opera apprentice singers such as Nikki Einfeld and Eugene Brancoveanu, as well as many local opera professionals such as Catherine Cook and Philip Skinner.\u003c/p>\n\u003cp>“When we first programmed \u003cem>Flight\u003c/em> for this season, we knew the topic of international refugees was important,” says Opera Parallèle’s artistic director, founder and conductor Nicole Paiement. “But we had no idea how sharp the political focus on immigration would become.”\u003c/p>\n\u003cfigure id=\"attachment_12704573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704573 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg\" alt=\"Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose's ‘Silent Night’.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/SL10-e1486075666989.jpg 1930w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colin Ramsey (Father Palmer) and Kirk Dougherty (Nikolaus Sprink) in Opera San Jose’s ‘Silent Night.’ \u003ccite>(Photo: Chris Ayers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 11–26: \u003ca href=\"https://www.operasj.org/production/silent-night/\" target=\"_blank\" rel=\"noopener\">Opera San José presents \u003cem>Silent Night\u003c/em>\u003c/a> at the California Theatre, San Jose\u003c/strong>\u003c/p>\n\u003cp>Also dealing with real-life events, is \u003ca href=\"http://www.kevinputs.com/\" target=\"_blank\" rel=\"noopener\">Kevin Puts\u003c/a>’ Pulitzer Prize-winning opera concerns the World War I Christmas truce between Scottish, French and German soldiers. Depicting the horrors of war, the piece has been wildly successful, taken up by nearly a dozen opera companies since the 2011 premiere at Minnesota Opera.\u003c/p>\n\u003cp>Opera San José presents the west coast premiere of \u003cem>Silent Night\u003c/em> in a new production designed by Steven Kemp, a finalist at this year’s World Stage Design in Taipei for his work on a production of \u003cem>Falstaff\u003c/em>. The cast includes soprano Julie Adams, a San Francisco Conservatory of Music alum who won the prestigious Met auditions and just finished a two-year stint as an apprentice at SF Opera.\u003c/p>\n\u003cfigure id=\"attachment_12704570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg\" alt=\"Looming video projections in Ted Hearne's ‘The Source’.\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1020x548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1920x1032.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-960x516.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562-520x280.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/The-Source-MOCA-Noah-Stern-Weber-3-e1486075556562.jpg 2027w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Looming video projections in Ted Hearne’s ‘The Source.’ \u003ccite>(Photo: Noah Stern Weber)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 24–Mar. 3: \u003ca href=\"http://sfopera.com/sfoperalab/season-two/the-source/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab presents \u003cem>The Source\u003c/em>\u003c/a> at the Taube Atrium Theater, San Francisco\u003c/strong>\u003c/p>\n\u003cp>The 30-something, Los Angeles-based composer Ted Hearne’s body of work is overtly political, covering such topics as Hurricane Katrina and Edward Said. SF Opera Lab, the experimental arm of SF Opera, opens its second season with Hearne’s oratorio about Chelsea Manning and Wikileaks. The piece made a huge splash at the Brooklyn Academy of Music in 2014 and at Los Angeles Opera last year.\u003c/p>\n\u003cp>The 75-minute, 12-movement piece for four singers and seven instrumentalists sets Manning’s own words and other primary source documents to music. Video projections from director Jim Findlay and designer Daniel Fish loom on four screens around the audience. Hearne incorporates many different modalities in this abstract work, using real-time voice processing and evoking the Bach \u003cem>Passions\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12704569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12704569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg\" alt=\"Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O'Brien, part of Snapshot Program 1.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/DSC07607-1-e1486075925456.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chelsea Hollow, Kristen Princiotta, Shawnette Sulker, and Kindra Scharich in ‘Why I Live at the P.O.’ by Stephen Eddins and Michael O’Brien, part of Snapshot Program 1. \u003ccite>(Photo: West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 25–26: \u003ca href=\"http://www.westedgeopera.org/program-two/\" target=\"_blank\" rel=\"noopener\">West Edge Opera presents \u003cem>Snapshot\u003c/em> \u003cem>Program 2\u003c/em>\u003c/a> at the David Brower Center, Berkeley (Feb. 25) and the Bayview Opera House, San Francisco (Feb. 26)\u003c/strong>\u003c/p>\n\u003cp>Building on its impressive festival season at Oakland’s abandoned train station last summer, West Edge Opera just launched \u003cem>Snapshot — \u003c/em>a new program highlighting the work of contemporary Northern Californian composers. The series features excerpts from as-yet-to-be-produced works by composers like Carla Lucero and Linda Bouchard, brought to life by half a dozen solo vocalists and the musicians of the Earplay new music ensemble.\u003c/p>\n\u003cp>The February program includes a work about Helen Keller, an operatic version of E. M. Foster’s novel \u003cem>Howard’s End\u003c/em>, a piece that sets text from Uruguayan writer Eduardo Galeano, and a comedic parody of Tennessee Williams’ \u003cem>A Streetcar Named Desire\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The program provides an opportunity to observe operas at the “workshop” stage of the production process. It also includes performances by local talent such as soprano Amy Foote (seen in the title role of West Edge’s \u003cem>The Cunning Little Vixen\u003c/em> last season) and baritone Daniel Cilli (who had his SF Opera premiere in \u003cem>Carmen\u003c/em> last year, but has appeared at every regional house around here) in a cozy setting.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Oakland Records Give New Glimpses Into History Preceding Ghost Ship Fire",
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"content": "\u003cp>Firefighters from Engine Company 13, on the next block from the Ghost Ship warehouse, were alerted the building was on fire at 11:24 the night of Friday, Dec. 2, 2016. The warehouse, which \u003ca href=\"http://www2.oaklandnet.com/oaklandfire2016/index.htm\" target=\"_blank\">city documents released Wednesday\u003c/a> confirm had been the target of a long series of complaints to police and code enforcement officials, was about to become synonymous with an unspeakable tragedy.\u003c/p>\n\u003cp>Company 13 -- Capt. Heather Mozdean and three firefighters -- responded to the alarm within seconds. As the crew opened the station's truck bay to drive to the scene just 100 yards away, they could see smoke pouring from the Ghost Ship building.\u003c/p>\n\u003cp>The engine \"arrived on scene approximately 60 seconds after the initial call to find 2 story warehouse with heavy black smoke pushing from the doors and windows,\" Mozdean wrote in one of the documents the city made public.\u003c/p>\n\u003cp>In her brief account, Mozdean describes her crew's attempt -- along with a force of firefighters who had rushed to the scene from other Oakland stations -- to get into the building and fight the fire. But she notes that her engine's personnel were never able to penetrate more than 40 feet into the jumble of piano and other paraphernalia inside the warehouse.\u003c/p>\n\u003cp>After about 30 minutes, Mozdean noted, she and her crew \"exited the building to swap [oxygen] bottles at which time I did a face-to-face with IC [incident commander] stating that the interior lines were not capable of extinguishing in a safe manner due to advanced fire, smoke conditions and tremendous fire load.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Firefighters were withdrawn from the building, where 36 partygoers had died, and went into \"defensive mode' -- an attempt to contain the damage from the blaze and prevent it from spreading further.\u003c/p>\n\u003cp>However, the damage done to the city of Oakland's reputation -- for its apparent failure to respond to a long history of complaints about trash, the conversion of the Ghost Ship into an illegal residence, the use of the site for night-time music events, and other issues -- was just beginning.\u003c/p>\n\u003cp>The documents the city released Wednesday came in response to repeated media requests from KQED, the Bay Area News Group, the East Bay Express, Los Angeles Times and others. The trove of records, many of which confirm earlier reports, show:\u003c/p>\n\u003cul>\n\u003cli>The documents also show that the Oakland Fire Department had not conducted safety inspections in the Ng properties on 31st Avenue -- which also include an auto body shop next to the Ghost Ship -- since 2010. It has been previously reported that the city has no records of either fire safety or building code inspections for at least the last 30 years.\u003c/li>\n\u003cli>Nineteen separate Oakland Police Department calls for service at two addresses associated with the warehouse, 1305 and 1315 31st Ave., in the city's Fruitvale district. Among those calls was a March 2015 incident in which officers responded to a 2 a.m. call that a rave, complete with illegal alcohol sales, was occurring in the building and that 15 people inside were not being allowed to leave. One of the responding officers confirmed the situation, notified an unidentified person at the Ghost Ship that the event was in violation of city ordinances but decided not to issue a citation.\u003c/li>\n\u003cli>The documents also fleshed out earlier reports that the warehouse and an adjacent property owned by Oakland landlord Chor Ng had an extensive history of code violations, including blight and possible illegal building conversions. All told, the city records show as many as 15 code complaints and 45 code inspections at the property. The exact number of complaints and inspections and how many of them concerned with the warehouse is hard to determine because the records are sometimes unclear about the actual address of alleged violations. \u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Firefighters from Engine Company 13, on the next block from the Ghost Ship warehouse, were alerted the building was on fire at 11:24 the night of Friday, Dec. 2, 2016. The warehouse, which \u003ca href=\"http://www2.oaklandnet.com/oaklandfire2016/index.htm\" target=\"_blank\">city documents released Wednesday\u003c/a> confirm had been the target of a long series of complaints to police and code enforcement officials, was about to become synonymous with an unspeakable tragedy.\u003c/p>\n\u003cp>Company 13 -- Capt. Heather Mozdean and three firefighters -- responded to the alarm within seconds. As the crew opened the station's truck bay to drive to the scene just 100 yards away, they could see smoke pouring from the Ghost Ship building.\u003c/p>\n\u003cp>The engine \"arrived on scene approximately 60 seconds after the initial call to find 2 story warehouse with heavy black smoke pushing from the doors and windows,\" Mozdean wrote in one of the documents the city made public.\u003c/p>\n\u003cp>In her brief account, Mozdean describes her crew's attempt -- along with a force of firefighters who had rushed to the scene from other Oakland stations -- to get into the building and fight the fire. But she notes that her engine's personnel were never able to penetrate more than 40 feet into the jumble of piano and other paraphernalia inside the warehouse.\u003c/p>\n\u003cp>After about 30 minutes, Mozdean noted, she and her crew \"exited the building to swap [oxygen] bottles at which time I did a face-to-face with IC [incident commander] stating that the interior lines were not capable of extinguishing in a safe manner due to advanced fire, smoke conditions and tremendous fire load.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Firefighters were withdrawn from the building, where 36 partygoers had died, and went into \"defensive mode' -- an attempt to contain the damage from the blaze and prevent it from spreading further.\u003c/p>\n\u003cp>However, the damage done to the city of Oakland's reputation -- for its apparent failure to respond to a long history of complaints about trash, the conversion of the Ghost Ship into an illegal residence, the use of the site for night-time music events, and other issues -- was just beginning.\u003c/p>\n\u003cp>The documents the city released Wednesday came in response to repeated media requests from KQED, the Bay Area News Group, the East Bay Express, Los Angeles Times and others. The trove of records, many of which confirm earlier reports, show:\u003c/p>\n\u003cul>\n\u003cli>The documents also show that the Oakland Fire Department had not conducted safety inspections in the Ng properties on 31st Avenue -- which also include an auto body shop next to the Ghost Ship -- since 2010. It has been previously reported that the city has no records of either fire safety or building code inspections for at least the last 30 years.\u003c/li>\n\u003cli>Nineteen separate Oakland Police Department calls for service at two addresses associated with the warehouse, 1305 and 1315 31st Ave., in the city's Fruitvale district. Among those calls was a March 2015 incident in which officers responded to a 2 a.m. call that a rave, complete with illegal alcohol sales, was occurring in the building and that 15 people inside were not being allowed to leave. One of the responding officers confirmed the situation, notified an unidentified person at the Ghost Ship that the event was in violation of city ordinances but decided not to issue a citation.\u003c/li>\n\u003cli>The documents also fleshed out earlier reports that the warehouse and an adjacent property owned by Oakland landlord Chor Ng had an extensive history of code violations, including blight and possible illegal building conversions. All told, the city records show as many as 15 code complaints and 45 code inspections at the property. The exact number of complaints and inspections and how many of them concerned with the warehouse is hard to determine because the records are sometimes unclear about the actual address of alleged violations. \u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post will be updated. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Happy International Clash Day, San Francisco",
"headTitle": "Happy International Clash Day, San Francisco | KQED",
"content": "\u003cp>As we here at KQED Arts shine a spotlight on the ways\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\"> artists are responding to the Trump administration\u003c/a>, it’s only fitting that we acknowledge a holiday honoring one of the most influential bands in the history of rock ‘n’ roll — and a band whose unambiguous use of music as a platform to speak out against racism, global inequality, and militarism sometimes goes overlooked.\u003c/p>\n\u003cp>Yes, Feb. 7, 2017, is International Clash Day, thanks to an enterprising morning show host at \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">Seattle’s KEXP\u003c/a>. John Richards held the first Clash Day celebration there in 2013 — basically just by deciding to play Clash songs all day — and five years later, San Francisco is one of seven American cities that currently recognize it as an official holiday. Mayor Ed Lee even signed a proclamation to make it so.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735832 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\" alt=\"clashproc_sf_500\" width=\"500\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-240x351.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-375x549.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It reads:\u003c/p>\n\u003cblockquote>\u003cp>Whereas, the City and County of San Francisco reocognizes the achievements of notable musical and artistic culture, the legendary UK band, The Clash, through its music, has given the world a socially conscious sound that represents progressive values of diversity, tolerance and multiculturalism as well as a bit of rock and roll rebellion; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco has long been recognized as playing a vital role in the musical and artistic culture of the United States and beyond; and\u003c/p>\n\u003cp>Whereas, on February 8th, 1979, The Clash chose the City of San Francisco for their second show in the United States and returned to perform in San Francisco a total of eight different times in their career as a band; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco adheres to the belief, said in the immortal words of Joe Strummer, “People can change anything they want to, and that means everything in the world;” and,\u003c/p>\n\u003cp>Whereas, the globally minded City of San Francisco wishes to join with other like-minded cities across the globe in celebrating the 5th Annual International Clash Day; now\u003c/p>\n\u003cp>Therefore be it resolved I, Edwin M. Lee, Mayor of the City and County of San Francisco in recognition of their and [sic] artistic achievements and socially conscious music do hereby proclaim February 7, 2017 as…\u003c/p>\n\u003cp>International Clash Day in San Francisco!\u003c/p>\u003c/blockquote>\n\u003cp>To celebrate, \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">KEXP is playing a full 24 hours of The Clash\u003c/a>, along with Clash covers and tracks by artists who were clearly influenced by the British rockers’ sound, politics, or both. Since noon, we’ve heard Woody Guthrie, MIA, Pearl Jam, Lily Allen (Joe Strummer’s goddaughter, natch) Billy Bragg, and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even better — in between tunes, musicians and music historians are chiming in with phone calls or pre-recorded bits to share what The Clash meant to them, and how their legacy lives on. To paraphrase, as we just heard Dave Grohl share over the airwaves: “In Donald Trump’s America, we need The Clash more than ever.”\u003c/p>\n\u003cp>Tune into\u003ca href=\"http://blog.kexp.org/clashday2017/\" target=\"_blank\" rel=\"noopener\"> KEXP right here\u003c/a>; read this NPR story about \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">Joe Strummer’s\u003c/a> \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">long-lasting influence\u003c/a>; or listen to a few of my personal favorites below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IvG3is7Bm1w\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FuYzsrYSQx4\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zyUsJWO-7jM\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jZOrkPIZ1JU\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u-qcy0-7ngw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qsrEAWcAvRg\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUNXA3srhYI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In the midst of a discussion about art's role in a protest movement, there's no better time to celebrate the legacy of The Clash. ",
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"title": "Happy International Clash Day, San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we here at KQED Arts shine a spotlight on the ways\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\"> artists are responding to the Trump administration\u003c/a>, it’s only fitting that we acknowledge a holiday honoring one of the most influential bands in the history of rock ‘n’ roll — and a band whose unambiguous use of music as a platform to speak out against racism, global inequality, and militarism sometimes goes overlooked.\u003c/p>\n\u003cp>Yes, Feb. 7, 2017, is International Clash Day, thanks to an enterprising morning show host at \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">Seattle’s KEXP\u003c/a>. John Richards held the first Clash Day celebration there in 2013 — basically just by deciding to play Clash songs all day — and five years later, San Francisco is one of seven American cities that currently recognize it as an official holiday. Mayor Ed Lee even signed a proclamation to make it so.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12735832 aligncenter\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg\" alt=\"clashproc_sf_500\" width=\"500\" height=\"732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-240x351.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/clashproc_sf_500-375x549.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>It reads:\u003c/p>\n\u003cblockquote>\u003cp>Whereas, the City and County of San Francisco reocognizes the achievements of notable musical and artistic culture, the legendary UK band, The Clash, through its music, has given the world a socially conscious sound that represents progressive values of diversity, tolerance and multiculturalism as well as a bit of rock and roll rebellion; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco has long been recognized as playing a vital role in the musical and artistic culture of the United States and beyond; and\u003c/p>\n\u003cp>Whereas, on February 8th, 1979, The Clash chose the City of San Francisco for their second show in the United States and returned to perform in San Francisco a total of eight different times in their career as a band; and\u003c/p>\n\u003cp>Whereas, the City of San Francisco adheres to the belief, said in the immortal words of Joe Strummer, “People can change anything they want to, and that means everything in the world;” and,\u003c/p>\n\u003cp>Whereas, the globally minded City of San Francisco wishes to join with other like-minded cities across the globe in celebrating the 5th Annual International Clash Day; now\u003c/p>\n\u003cp>Therefore be it resolved I, Edwin M. Lee, Mayor of the City and County of San Francisco in recognition of their and [sic] artistic achievements and socially conscious music do hereby proclaim February 7, 2017 as…\u003c/p>\n\u003cp>International Clash Day in San Francisco!\u003c/p>\u003c/blockquote>\n\u003cp>To celebrate, \u003ca href=\"http://kexp.org/\" target=\"_blank\" rel=\"noopener\">KEXP is playing a full 24 hours of The Clash\u003c/a>, along with Clash covers and tracks by artists who were clearly influenced by the British rockers’ sound, politics, or both. Since noon, we’ve heard Woody Guthrie, MIA, Pearl Jam, Lily Allen (Joe Strummer’s goddaughter, natch) Billy Bragg, and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even better — in between tunes, musicians and music historians are chiming in with phone calls or pre-recorded bits to share what The Clash meant to them, and how their legacy lives on. To paraphrase, as we just heard Dave Grohl share over the airwaves: “In Donald Trump’s America, we need The Clash more than ever.”\u003c/p>\n\u003cp>Tune into\u003ca href=\"http://blog.kexp.org/clashday2017/\" target=\"_blank\" rel=\"noopener\"> KEXP right here\u003c/a>; read this NPR story about \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">Joe Strummer’s\u003c/a> \u003ca href=\"http://www.npr.org/2012/12/20/167651279/joe-strummers-life-after-death\" target=\"_blank\" rel=\"noopener\">long-lasting influence\u003c/a>; or listen to a few of my personal favorites below.\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/IvG3is7Bm1w'\n title='//www.youtube.com/embed/IvG3is7Bm1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=FuYzsrYSQx4\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/zyUsJWO-7jM'\n title='//www.youtube.com/embed/zyUsJWO-7jM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=jZOrkPIZ1JU\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/u-qcy0-7ngw'\n title='//www.youtube.com/embed/u-qcy0-7ngw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=qsrEAWcAvRg\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/FUNXA3srhYI'\n title='//www.youtube.com/embed/FUNXA3srhYI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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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"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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"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": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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