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Does Hillary Clinton really have a \u003ca href=\"http://eaglerising.com/36880/a-hillary-clinton-administration-may-be-entirely-run-by-a-figurehead/\">body double\u003c/a>?)\u003c/p>\n\u003cp>Behind whatever the controversy of the moment happens to be, there’s a deep-seated problem. The problem is this: At age 19, the then-boy genius started a social network that was basically a tech-savvy way to \u003ca href=\"https://www.theguardian.com/technology/2007/jul/25/media.newmedia\">check out classmates\u003c/a> in school. Then, over the course of 12 years, he made some very strategic decisions that have morphed Facebook into the most powerful distributor on Earth — the new front page of the news for \u003ca href=\"https://newsroom.fb.com/company-info/\">more than 1 billion\u003c/a> people every day. But Zuckerberg didn’t sign up to head a media company — as in, one that has to make editorial judgments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/495827410/502402451\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>He and his team have made a very complex set of contradictory rules — a bias toward restricted speech for regular users, and toward free speech for “news” (real or fake). And the company relies on a sprawling army of subcontractors to enforce the rules. People involved in trying to make it work say they’re in way over their heads. As one employee put it, “We started out of a college dorm. I mean, c’mon, we’re Facebook. We never wanted to deal with this s***.”\u003c/p>\n\u003cp>\u003cstrong>Subcontractors running the show\u003c/strong>\u003c/p>\n\u003cp>NPR got the official version of how the company censors and leaves up content this summer when Facebook’s head of policy, Monika Bickert, agreed to a phone interview. We spoke with 10 current and former employees total, on the record and on background, for this investigation.\u003c/p>\n\u003cp>It’s hard to remember this sometimes, but Facebook has never claimed to be a free-speech platform. The company is trying to create a safe space where, unlike on Twitter, people can share without being trolled or shamed. Bickert is in charge of setting the content policies. The \u003ca href=\"https://www.facebook.com/communitystandards\">Community Standards\u003c/a>, which are posted online, are the rules for everyday users.\u003c/p>\n\u003cp>She explained that when a user reports a piece of content that might be offensive, the company exercises its power to censor with precision.\u003c/p>\n\u003cp>[contextly_sidebar id=”rW0OoouzHwixJ3pMYhx8Zi9oUCslrao5″]\u003c/p>\n\u003cp>“Context is so important. It’s critical when we are looking to determine whether or not something is hate speech, or a credible threat of violence,” she said. “We look at how a specific person shared a specific post or word or photo to Facebook. So we’re looking to see why did this particular share happen on Facebook? Why did this particular post happen?”\u003c/p>\n\u003cp>However, three of Bickert’s former colleagues tell a very different story of how Facebook deals with controversial content. They and others declined to be named for fear of job repercussions (at Facebook or at their current employers, also internet companies), but their descriptions are consistent with each other.\u003c/p>\n\u003cp>When a user flags a post on Facebook — whether it’s a picture, video or text post — it goes to a little-known division called the “community operations team.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘You have to use judgment, in a system that doesn’t give you the time to make a real judgment.’\u003c/aside>\n\u003cp>In 2010, the sources say, the team had a couple hundred workers in five countries. Facebook found it needed more hands on deck. After trying crowdsourcing solutions like CrowdFlower, the company turned to the consulting firm Accenture to put together a dedicated team of subcontractors. Sources say the team is now several thousand people, with some of the largest offices in Manila, the Philippines, and Warsaw, Poland.\u003c/p>\n\u003cp>Current and former employees of Facebook say that they’ve observed these subcontractors in action; that they are told to go fast — very fast; that they’re evaluated on speed; and that on average, a worker makes a decision about a piece of flagged content once every 10 seconds.\u003c/p>\n\u003cp>Let’s do a back-of-the-envelope calculation. Say a worker is doing an eight-hour shift, at the rate of one post per 10 seconds. That means they’re clearing 2,880 posts a day per person. When NPR ran these numbers by current and former employees, they said that sounds reasonable.\u003c/p>\n\u003cp>A Facebook spokesperson says response times vary widely, depending on what is being reported; that the vast majority of flagged content is not removed; and that the numbers are off. Facebook did not provide alternative numbers.\u003c/p>\n\u003cp>[contextly_sidebar id=”GHUFwakLngKMdaqXezKhADivYvtrrydc”]\u003c/p>\n\u003cp>If the sources — who have firsthand knowledge and spoke separately with NPR — are correct, then this may be the biggest editing — aka censorship — operation in the history of media. All the while, Facebook leaders insist they’re just running a “platform,” free of human judgment.\u003c/p>\n\u003cp>A person who worked on this area of “content management” for Facebook (as an employee, not a subcontractor) says most of the content you see falls neatly into categories that don’t need deep reflection: “That’s an erect penis. Check.” So it’s not like the workers are analyzing every single one in detail.\u003c/p>\n\u003cp>The problem is that simple and complex items all go into the same big pile. So, the source says, “you go on autopilot” and don’t realize when “you have to use judgment, in a system that doesn’t give you the time to make a real judgment.”\u003c/p>\n\u003cp>A classic case is something like “Becky looks pregnant.” It could be cyberbullying or a compliment. The subcontractor “pretty much tosses a coin,” the source says.\u003c/p>\n\u003cp>Here’s another huge barrier. Because of privacy laws and technical glitches (such as a post that is truncated to show only part of the conversation), the subcontractors typically don’t get to see the full context — to which Bickert referred so often.\u003c/p>\n\u003cp>\u003cstrong>Frequent errors\u003c/strong>\u003c/p>\n\u003cp>That could be the cause of frequent errors.\u003c/p>\n\u003cp>NPR decided to stress-test the system by flagging nearly 200 posts that could be considered hate speech — specifically, attacks against blacks and against whites in the U.S. We found that Facebook subcontractors were not consistent and made numerous mistakes, including in instances where a user calls for violence.\u003c/p>\n\u003cp>We say they were mistakes because the company changed its position in dozens of instances, removing some and restoring others — either when we flagged it a second time through the automated system or brought it to the attention of Facebook headquarters in Menlo Park.\u003c/p>\n\u003cp>Consider this post:\u003c/p>\n\u003cfigure id=\"attachment_11178624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178624\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/FBNPR800-800x949.jpg\" alt=\"A comment on this post (indicated by the light gray text) was flagged by NPR. Facebook's subcontractors did not remove the comment, but after being pressed further, a spokesperson said they made a mistake and it should have been removed.\" width=\"800\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-240x285.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-375x445.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-520x617.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A comment on this post (indicated by the light gray text) was flagged by NPR. Facebook’s subcontractors did not remove the comment, but after being pressed further, a spokesperson said they made a mistake and it should have been removed. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One user shares a video of a police officer kicking someone on the ground, and another says they “need to start organizing and sniping these bitches.” This is a call to shoot cops.\u003c/p>\n\u003cp>And it’s occurring in a very specific context: days after \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\">Philando Castile\u003c/a> was shot and killed by an officer (the shooting’s aftermath was live-streamed on Facebook); and in a city in Minnesota that’s just a few miles away from where Castile lay bleeding.\u003c/p>\n\u003cp>The subcontractors did not remove the post. When NPR emailed Facebook headquarters about it, a spokesperson said they made a mistake and the post should have been removed.\u003c/p>\n\u003cp>One source tells NPR that the subcontractor “likely” could not see the full post if just the comment was flagged, could not see the profile of the user or even view the video to which the user was responding — again for privacy or technical reasons.\u003c/p>\n\u003cp>Different projects within Facebook have to compete fiercely for engineering talent, and have to make the case that their to-do list is worth expensive company resources. Two sources say that over the years, it’s been hard to make that case for fixing the editing system.\u003c/p>\n\u003cfigure id=\"attachment_11178627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178627\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/WLM800-800x574.jpg\" alt=\"Of posts that NPR flagged, this one, with the hashtag #blacklivesdontmatter, was left up erroneously, according to Facebook officials.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Of posts that NPR flagged, this one, with the hashtag #blacklivesdontmatter, was left up erroneously, according to Facebook officials. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NPR shared many posts with the company to get specific feedback on why something stayed up or was taken down. This post, with the hashtag #blacklivesdontmatter, was left up. The spokesperson says it should have been removed, but the reviewer’s perspective is not the same as a regular Facebook user; and because the company is protecting privacy, reviewers don’t have access to everything, which \u003cem>can\u003c/em> affect their judgments. Also, the spokesperson says, reviewers don’t have the time a person at Facebook headquarters or at NPR may have to make a decision.\u003c/p>\n\u003cp>Another spokesperson notes that just because the reviewer has a limited view does not mean Bickert’s description is incorrect — that the two versions of the process are not mutually exclusive.\u003c/p>\n\u003cp>\u003cstrong>A restrictive platform\u003c/strong>\u003c/p>\n\u003cp>NPR also finds, interestingly, that Facebook can be strict.\u003c/p>\n\u003cp>Think of it this way. Every media outlet has its own culture and voice. If \u003cem>The New York Times \u003c/em>is urban liberal, Fox News is conservative, and Playboy is racy, you could say Facebook aspires to be nice — a global brand that’s as easy to swallow as Coca-Cola. (In this provocative \u003ca href=\"http://shorensteincenter.org/jeffrey-rosen-future-of-free-speech-in-a-digital-world/\">talk at Harvard’s Shorenstein Center\u003c/a>, law professor and author Jeffrey Rosen says Facebook favors “civility” over “liberty.”)\u003c/p>\n\u003cp>The bias is evident in these real-life examples:\u003c/p>\n\u003cfigure id=\"attachment_11178629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178629\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-800x428.jpg\" alt=\"One example of a Facebook post that was flagged where racial slurs were used.\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-520x278.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-280x150.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85.jpg 888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One example of a Facebook post that was flagged where racial slurs were used. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11178632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178632\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/SadisticCap-800x301.jpg\" alt=\"A second example of a Facebook post that was flagged where racial slurs were used.\" width=\"800\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-240x90.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-375x141.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-520x196.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A second example of a Facebook post that was flagged where racial slurs were used. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NPR asked two newsroom veterans to put themselves in the position of a Facebook content arbiter. We don’t have access to Facebook’s internal guidance on hate speech, so they had to rely on their own judgment and familiarity with Facebook as users.\u003c/p>\n\u003cp>Lynette Clemetson, formerly with NPR and now at the University of Michigan, says of Post 1, “now that’s just dumb.” Post 2, she says, sounds like a “rant.” Chip Mahaney, a former managing editor at a Fox television station, agrees. Both experts venture to guess that the posts are acceptable speech on the platform.\u003c/p>\n\u003cp>To their surprise, they’re not.\u003c/p>\n\u003cp>When NPR flagged the posts, Facebook censors decided to take them down. The spokesperson explains to NPR: It’s OK to use racial slurs when being self-referential. A black person can say things like “my niggers.” But no one can use a slur to attack an individual or group. That’s prohibited. A white person cannot use the word “nigger” to mock or attack blacks. Blacks can’t use “crakkker” (in whatever spelling) to offend whites.\u003c/p>\n\u003cp>\u003cstrong>Wiggle room in pictures\u003c/strong>\u003c/p>\n\u003cp>But there are so many caveats and exceptions — particularly when it comes to interpreting images and videos.\u003c/p>\n\u003cp>Consider this post:\u003c/p>\n\u003cfigure id=\"attachment_11178634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178634\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-800x413.jpg\" alt=\"This image showing a noose, which was flagged by NPR, was not removed. A Facebook spokesperson explains that if the image included a person, a specific victim of a hate crime, then it would be removed.\" width=\"800\" height=\"413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-960x496.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-375x194.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-520x269.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image showing a noose, which was flagged by NPR, was not removed. A Facebook spokesperson explains that if the image included a person, a specific victim of a hate crime, then it would be removed. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a noose, the kind used to hang slaves. Beside it is a sign. While the letters are faded, you can make out the words: “Nigger swing set.” It was shared by a user named “White Lives Matter 2.”\u003c/p>\n\u003cp>The news veterans would take it down. Clemetson says it’s not quite a call to violent action, but it’s certainly a reference to past action. “It’s a reference to lynching — and making a joke of lynching.” Mahaney says this is “obviously a pretty difficult picture to look at” and his instinct is, unless there’s a deeper context, “I would say it has no place on here.”\u003c/p>\n\u003cp>Facebook left it up, and stands by that decision.\u003c/p>\n\u003cp>The spokesperson explains this historical reference doesn’t have a human victim clearly depicted. If the image included a person, a specific subject of a hate crime, then it would be removed.\u003c/p>\n\u003cp>The spokesperson also made a claim that has not panned out: that in some situations, like this one, Facebook requires the user who created the page to add their real name to the “about” section. By removing anonymity, the hope is, people will be more thoughtful about what they post.\u003c/p>\n\u003cp>The spokesperson says “White Lives Matter 2” was told to identify him or herself promptly. Yet more than a month after NPR flagged the post, it hadn’t happened — yet another way Facebook’s enforcement mechanism is broken.\u003c/p>\n\u003cp>\u003cstrong>With news, a double standard emerges\u003c/strong>\u003c/p>\n\u003cp>If the user rules weren’t nuanced enough, add to that a new plot line: CEO Zuckerberg decided to forge partnerships with news media to make his social network the most powerful distributor of news on Earth. (Facebook pays NPR and other news organizations to produce live videos for its site.)\u003c/p>\n\u003cp>What Facebook has found in the process is that it’s much harder to censor high-profile newsmakers than it is to censor regular users. As one source says, “Whoever screams the loudest gets our attention. We react.”\u003c/p>\n\u003cp>And that’s making newsworthy content a whole other category.\u003c/p>\n\u003cp>Consider the scandals around “Napalm Girl” and Donald Trump. In the first, Facebook was slammed for not allowing users to share \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/09/493267919/after-facebook-censors-iconic-photo-norwegian-newspaper-pushes-back\">a Pulitzer Prize-winning photo\u003c/a> because it showed child nudity. In the second, Facebook came under criticism for allowing Donald Trump \u003ca href=\"http://www.businessinsider.com/facebook-employees-wanted-to-block-donald-trump-report-2016-10\">to call for a ban on Muslims\u003c/a> coming to the U.S. — what is clearly hate speech under their regular rules, according to two former employees and a current one. One source said, “He hadn’t even won the Republican primary yet. What we decided mattered.”\u003c/p>\n\u003cp>In both cases, the company caved to public pressure and decided to bend the rules. The source says both decisions were “highly controversial” among employees; and they signal that Facebook leadership is feeling pressure to move toward a free-speech standard for news distribution.\u003c/p>\n\u003cp>How to define news is a huge source of controversy — not just with the elections, but with every charged moment. After Trump won, some critics blamed fake news on Facebook for the election’s outcome. (\u003ca href=\"http://www.npr.org/sections/alltechconsidered/2016/11/11/501743684/zuckerberg-denies-fake-news-on-facebook-had-impact-on-the-election\">Zuckerberg dismisses that idea\u003c/a>). After Philando Castile was shot by police, his video disappeared from Facebook. The company says it was “a glitch” and restored it. And the concern over its removal is part of an \u003ca href=\"http://fortune.com/2016/08/05/facebook-video-police/\">ongoing debate\u003c/a> about what police-civilian standoffs should be live-streamed.\u003c/p>\n\u003cp>\u003cstrong>What now?\u003c/strong>\u003c/p>\n\u003cp>Some in Silicon Valley dismiss the criticisms against Facebook as schadenfreude: Just like taxi drivers don’t like Uber, legacy media envies the success of the social platform and enjoys seeing its leadership on the hot seat.\u003c/p>\n\u003cp>A former employee is not so dismissive and says there is a cultural problem, a stubborn blindness at Facebook and other leading internet companies like Twitter. The source says: “The hardest problems these companies face aren’t technological. They are ethical, and there’s not as much rigor in how it’s done.”\u003c/p>\n\u003cp>At a values level, some experts point out, Facebook has to decide if its solution is free speech (the more people post, the more the truth rises), or clear restrictions.\u003c/p>\n\u003cp>And technically, there’s no shortage of ideas about how to fix the process.\u003c/p>\n\u003cp>A former employee says speech is so complex, you can’t expect Facebook to arrive at the same decision each and every time; but you can expect a company that consistently ranks among the 10 most valuable on Earth, by market cap, to put more thought and resources into its censorship machine.\u003c/p>\n\u003cp>The source argues Facebook could afford to make content management regional — have decisions come from the same country in which a post occurs.\u003c/p>\n\u003cp>Speech norms are highly regional. When Facebook first opened its offices in Hyderabad, India, a former employee says, the guidance the reviewers got was to remove sexual content. In a test run, they ended up removing French kissing. Senior management was blown away. The Indian reviewers were doing something Facebook did not expect but which makes perfect sense for local norms.\u003c/p>\n\u003cp>Harvard business professor Ben Edelman says Facebook could invest engineering resources into categorizing the posts. “It makes no sense at all,” he says, that when a piece of content is flagged, it goes into one long line. The company could have the algorithm track what flagged content is getting the most circulation and move that up in the queue, he suggests.\u003c/p>\n\u003cp>Zuckerberg finds himself at the helm of a company that started as a tech company — run by algorithms, free of human judgment, the mythology went. And now he’s just so clearly the CEO of a media company — replete with highly complex rules (What is hate speech anyway?); with double standards (If it’s “news” it stays, if it’s a rant it goes); and with an enforcement mechanism that is set up to fail.\u003c/p>\n\u003cp>\u003cem>Gabriela Mejias and Justina Vasquez contributed reporting to this story.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\n",
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"title": "From Hate Speech to Fake News: the Content Crisis Facing Mark Zuckerberg | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This story contains images and language that some readers may find disturbing.\u003c/em>\u003c/p>\n\u003cp>Mark Zuckerberg — one of the most insightful, adept leaders in the business world — has a problem. It’s a problem he has been slow to acknowledge, even though it has become more apparent by the day.\u003c/p>\n\u003cp>Several current and former Facebook employees tell NPR there is a lot of internal turmoil about how the platform does and doesn’t censor content that users find offensive. And outside Facebook, the public is regularly confounded by the company’s decisions — around controversial posts and around fake news.\u003c/p>\n\u003cp>(Did \u003ca href=\"http://www.snopes.com/pope-francis-donald-trump-endorsement/\">Pope Francis really endorse\u003c/a> Donald Trump? Does Hillary Clinton really have a \u003ca href=\"http://eaglerising.com/36880/a-hillary-clinton-administration-may-be-entirely-run-by-a-figurehead/\">body double\u003c/a>?)\u003c/p>\n\u003cp>Behind whatever the controversy of the moment happens to be, there’s a deep-seated problem. The problem is this: At age 19, the then-boy genius started a social network that was basically a tech-savvy way to \u003ca href=\"https://www.theguardian.com/technology/2007/jul/25/media.newmedia\">check out classmates\u003c/a> in school. Then, over the course of 12 years, he made some very strategic decisions that have morphed Facebook into the most powerful distributor on Earth — the new front page of the news for \u003ca href=\"https://newsroom.fb.com/company-info/\">more than 1 billion\u003c/a> people every day. But Zuckerberg didn’t sign up to head a media company — as in, one that has to make editorial judgments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/495827410/502402451\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>He and his team have made a very complex set of contradictory rules — a bias toward restricted speech for regular users, and toward free speech for “news” (real or fake). And the company relies on a sprawling army of subcontractors to enforce the rules. People involved in trying to make it work say they’re in way over their heads. As one employee put it, “We started out of a college dorm. I mean, c’mon, we’re Facebook. We never wanted to deal with this s***.”\u003c/p>\n\u003cp>\u003cstrong>Subcontractors running the show\u003c/strong>\u003c/p>\n\u003cp>NPR got the official version of how the company censors and leaves up content this summer when Facebook’s head of policy, Monika Bickert, agreed to a phone interview. We spoke with 10 current and former employees total, on the record and on background, for this investigation.\u003c/p>\n\u003cp>It’s hard to remember this sometimes, but Facebook has never claimed to be a free-speech platform. The company is trying to create a safe space where, unlike on Twitter, people can share without being trolled or shamed. Bickert is in charge of setting the content policies. The \u003ca href=\"https://www.facebook.com/communitystandards\">Community Standards\u003c/a>, which are posted online, are the rules for everyday users.\u003c/p>\n\u003cp>She explained that when a user reports a piece of content that might be offensive, the company exercises its power to censor with precision.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Context is so important. It’s critical when we are looking to determine whether or not something is hate speech, or a credible threat of violence,” she said. “We look at how a specific person shared a specific post or word or photo to Facebook. So we’re looking to see why did this particular share happen on Facebook? Why did this particular post happen?”\u003c/p>\n\u003cp>However, three of Bickert’s former colleagues tell a very different story of how Facebook deals with controversial content. They and others declined to be named for fear of job repercussions (at Facebook or at their current employers, also internet companies), but their descriptions are consistent with each other.\u003c/p>\n\u003cp>When a user flags a post on Facebook — whether it’s a picture, video or text post — it goes to a little-known division called the “community operations team.”\u003c/p>\n\u003caside class=\"pullquote alignright\">‘You have to use judgment, in a system that doesn’t give you the time to make a real judgment.’\u003c/aside>\n\u003cp>In 2010, the sources say, the team had a couple hundred workers in five countries. Facebook found it needed more hands on deck. After trying crowdsourcing solutions like CrowdFlower, the company turned to the consulting firm Accenture to put together a dedicated team of subcontractors. Sources say the team is now several thousand people, with some of the largest offices in Manila, the Philippines, and Warsaw, Poland.\u003c/p>\n\u003cp>Current and former employees of Facebook say that they’ve observed these subcontractors in action; that they are told to go fast — very fast; that they’re evaluated on speed; and that on average, a worker makes a decision about a piece of flagged content once every 10 seconds.\u003c/p>\n\u003cp>Let’s do a back-of-the-envelope calculation. Say a worker is doing an eight-hour shift, at the rate of one post per 10 seconds. That means they’re clearing 2,880 posts a day per person. When NPR ran these numbers by current and former employees, they said that sounds reasonable.\u003c/p>\n\u003cp>A Facebook spokesperson says response times vary widely, depending on what is being reported; that the vast majority of flagged content is not removed; and that the numbers are off. Facebook did not provide alternative numbers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If the sources — who have firsthand knowledge and spoke separately with NPR — are correct, then this may be the biggest editing — aka censorship — operation in the history of media. All the while, Facebook leaders insist they’re just running a “platform,” free of human judgment.\u003c/p>\n\u003cp>A person who worked on this area of “content management” for Facebook (as an employee, not a subcontractor) says most of the content you see falls neatly into categories that don’t need deep reflection: “That’s an erect penis. Check.” So it’s not like the workers are analyzing every single one in detail.\u003c/p>\n\u003cp>The problem is that simple and complex items all go into the same big pile. So, the source says, “you go on autopilot” and don’t realize when “you have to use judgment, in a system that doesn’t give you the time to make a real judgment.”\u003c/p>\n\u003cp>A classic case is something like “Becky looks pregnant.” It could be cyberbullying or a compliment. The subcontractor “pretty much tosses a coin,” the source says.\u003c/p>\n\u003cp>Here’s another huge barrier. Because of privacy laws and technical glitches (such as a post that is truncated to show only part of the conversation), the subcontractors typically don’t get to see the full context — to which Bickert referred so often.\u003c/p>\n\u003cp>\u003cstrong>Frequent errors\u003c/strong>\u003c/p>\n\u003cp>That could be the cause of frequent errors.\u003c/p>\n\u003cp>NPR decided to stress-test the system by flagging nearly 200 posts that could be considered hate speech — specifically, attacks against blacks and against whites in the U.S. We found that Facebook subcontractors were not consistent and made numerous mistakes, including in instances where a user calls for violence.\u003c/p>\n\u003cp>We say they were mistakes because the company changed its position in dozens of instances, removing some and restoring others — either when we flagged it a second time through the automated system or brought it to the attention of Facebook headquarters in Menlo Park.\u003c/p>\n\u003cp>Consider this post:\u003c/p>\n\u003cfigure id=\"attachment_11178624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178624\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/FBNPR800-800x949.jpg\" alt=\"A comment on this post (indicated by the light gray text) was flagged by NPR. Facebook's subcontractors did not remove the comment, but after being pressed further, a spokesperson said they made a mistake and it should have been removed.\" width=\"800\" height=\"949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-240x285.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-375x445.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/FBNPR800-520x617.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A comment on this post (indicated by the light gray text) was flagged by NPR. Facebook’s subcontractors did not remove the comment, but after being pressed further, a spokesperson said they made a mistake and it should have been removed. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One user shares a video of a police officer kicking someone on the ground, and another says they “need to start organizing and sniping these bitches.” This is a call to shoot cops.\u003c/p>\n\u003cp>And it’s occurring in a very specific context: days after \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/07/07/485066807/police-stop-ends-in-black-mans-death-aftermath-is-livestreamed-online-video\">Philando Castile\u003c/a> was shot and killed by an officer (the shooting’s aftermath was live-streamed on Facebook); and in a city in Minnesota that’s just a few miles away from where Castile lay bleeding.\u003c/p>\n\u003cp>The subcontractors did not remove the post. When NPR emailed Facebook headquarters about it, a spokesperson said they made a mistake and the post should have been removed.\u003c/p>\n\u003cp>One source tells NPR that the subcontractor “likely” could not see the full post if just the comment was flagged, could not see the profile of the user or even view the video to which the user was responding — again for privacy or technical reasons.\u003c/p>\n\u003cp>Different projects within Facebook have to compete fiercely for engineering talent, and have to make the case that their to-do list is worth expensive company resources. Two sources say that over the years, it’s been hard to make that case for fixing the editing system.\u003c/p>\n\u003cfigure id=\"attachment_11178627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178627\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/WLM800-800x574.jpg\" alt=\"Of posts that NPR flagged, this one, with the hashtag #blacklivesdontmatter, was left up erroneously, according to Facebook officials.\" width=\"800\" height=\"574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-800x574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/WLM800.jpg 813w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Of posts that NPR flagged, this one, with the hashtag #blacklivesdontmatter, was left up erroneously, according to Facebook officials. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NPR shared many posts with the company to get specific feedback on why something stayed up or was taken down. This post, with the hashtag #blacklivesdontmatter, was left up. The spokesperson says it should have been removed, but the reviewer’s perspective is not the same as a regular Facebook user; and because the company is protecting privacy, reviewers don’t have access to everything, which \u003cem>can\u003c/em> affect their judgments. Also, the spokesperson says, reviewers don’t have the time a person at Facebook headquarters or at NPR may have to make a decision.\u003c/p>\n\u003cp>Another spokesperson notes that just because the reviewer has a limited view does not mean Bickert’s description is incorrect — that the two versions of the process are not mutually exclusive.\u003c/p>\n\u003cp>\u003cstrong>A restrictive platform\u003c/strong>\u003c/p>\n\u003cp>NPR also finds, interestingly, that Facebook can be strict.\u003c/p>\n\u003cp>Think of it this way. Every media outlet has its own culture and voice. If \u003cem>The New York Times \u003c/em>is urban liberal, Fox News is conservative, and Playboy is racy, you could say Facebook aspires to be nice — a global brand that’s as easy to swallow as Coca-Cola. (In this provocative \u003ca href=\"http://shorensteincenter.org/jeffrey-rosen-future-of-free-speech-in-a-digital-world/\">talk at Harvard’s Shorenstein Center\u003c/a>, law professor and author Jeffrey Rosen says Facebook favors “civility” over “liberty.”)\u003c/p>\n\u003cp>The bias is evident in these real-life examples:\u003c/p>\n\u003cfigure id=\"attachment_11178629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178629\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-800x428.jpg\" alt=\"One example of a Facebook post that was flagged where racial slurs were used.\" width=\"800\" height=\"428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-800x428.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-240x128.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-520x278.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85-280x150.jpg 280w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/smack-cheese-edit_custom-ba74c37ee123fac3f669f0406811bf1976130be4-s1600-c85.jpg 888w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One example of a Facebook post that was flagged where racial slurs were used. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11178632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178632\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/SadisticCap-800x301.jpg\" alt=\"A second example of a Facebook post that was flagged where racial slurs were used.\" width=\"800\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-240x90.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-375x141.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/SadisticCap-520x196.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A second example of a Facebook post that was flagged where racial slurs were used. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NPR asked two newsroom veterans to put themselves in the position of a Facebook content arbiter. We don’t have access to Facebook’s internal guidance on hate speech, so they had to rely on their own judgment and familiarity with Facebook as users.\u003c/p>\n\u003cp>Lynette Clemetson, formerly with NPR and now at the University of Michigan, says of Post 1, “now that’s just dumb.” Post 2, she says, sounds like a “rant.” Chip Mahaney, a former managing editor at a Fox television station, agrees. Both experts venture to guess that the posts are acceptable speech on the platform.\u003c/p>\n\u003cp>To their surprise, they’re not.\u003c/p>\n\u003cp>When NPR flagged the posts, Facebook censors decided to take them down. The spokesperson explains to NPR: It’s OK to use racial slurs when being self-referential. A black person can say things like “my niggers.” But no one can use a slur to attack an individual or group. That’s prohibited. A white person cannot use the word “nigger” to mock or attack blacks. Blacks can’t use “crakkker” (in whatever spelling) to offend whites.\u003c/p>\n\u003cp>\u003cstrong>Wiggle room in pictures\u003c/strong>\u003c/p>\n\u003cp>But there are so many caveats and exceptions — particularly when it comes to interpreting images and videos.\u003c/p>\n\u003cp>Consider this post:\u003c/p>\n\u003cfigure id=\"attachment_11178634\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178634\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-800x413.jpg\" alt=\"This image showing a noose, which was flagged by NPR, was not removed. A Facebook spokesperson explains that if the image included a person, a specific victim of a hate crime, then it would be removed.\" width=\"800\" height=\"413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-960x496.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-375x194.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85-520x269.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/swing-set-edit-final_custom-607fe4060240382150d79dfee8f71c7067a2438c-s1600-c85.jpg 995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image showing a noose, which was flagged by NPR, was not removed. A Facebook spokesperson explains that if the image included a person, a specific victim of a hate crime, then it would be removed. \u003ccite>(Facebook/Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a noose, the kind used to hang slaves. Beside it is a sign. While the letters are faded, you can make out the words: “Nigger swing set.” It was shared by a user named “White Lives Matter 2.”\u003c/p>\n\u003cp>The news veterans would take it down. Clemetson says it’s not quite a call to violent action, but it’s certainly a reference to past action. “It’s a reference to lynching — and making a joke of lynching.” Mahaney says this is “obviously a pretty difficult picture to look at” and his instinct is, unless there’s a deeper context, “I would say it has no place on here.”\u003c/p>\n\u003cp>Facebook left it up, and stands by that decision.\u003c/p>\n\u003cp>The spokesperson explains this historical reference doesn’t have a human victim clearly depicted. If the image included a person, a specific subject of a hate crime, then it would be removed.\u003c/p>\n\u003cp>The spokesperson also made a claim that has not panned out: that in some situations, like this one, Facebook requires the user who created the page to add their real name to the “about” section. By removing anonymity, the hope is, people will be more thoughtful about what they post.\u003c/p>\n\u003cp>The spokesperson says “White Lives Matter 2” was told to identify him or herself promptly. Yet more than a month after NPR flagged the post, it hadn’t happened — yet another way Facebook’s enforcement mechanism is broken.\u003c/p>\n\u003cp>\u003cstrong>With news, a double standard emerges\u003c/strong>\u003c/p>\n\u003cp>If the user rules weren’t nuanced enough, add to that a new plot line: CEO Zuckerberg decided to forge partnerships with news media to make his social network the most powerful distributor of news on Earth. (Facebook pays NPR and other news organizations to produce live videos for its site.)\u003c/p>\n\u003cp>What Facebook has found in the process is that it’s much harder to censor high-profile newsmakers than it is to censor regular users. As one source says, “Whoever screams the loudest gets our attention. We react.”\u003c/p>\n\u003cp>And that’s making newsworthy content a whole other category.\u003c/p>\n\u003cp>Consider the scandals around “Napalm Girl” and Donald Trump. In the first, Facebook was slammed for not allowing users to share \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/09/493267919/after-facebook-censors-iconic-photo-norwegian-newspaper-pushes-back\">a Pulitzer Prize-winning photo\u003c/a> because it showed child nudity. In the second, Facebook came under criticism for allowing Donald Trump \u003ca href=\"http://www.businessinsider.com/facebook-employees-wanted-to-block-donald-trump-report-2016-10\">to call for a ban on Muslims\u003c/a> coming to the U.S. — what is clearly hate speech under their regular rules, according to two former employees and a current one. One source said, “He hadn’t even won the Republican primary yet. What we decided mattered.”\u003c/p>\n\u003cp>In both cases, the company caved to public pressure and decided to bend the rules. The source says both decisions were “highly controversial” among employees; and they signal that Facebook leadership is feeling pressure to move toward a free-speech standard for news distribution.\u003c/p>\n\u003cp>How to define news is a huge source of controversy — not just with the elections, but with every charged moment. After Trump won, some critics blamed fake news on Facebook for the election’s outcome. (\u003ca href=\"http://www.npr.org/sections/alltechconsidered/2016/11/11/501743684/zuckerberg-denies-fake-news-on-facebook-had-impact-on-the-election\">Zuckerberg dismisses that idea\u003c/a>). After Philando Castile was shot by police, his video disappeared from Facebook. The company says it was “a glitch” and restored it. And the concern over its removal is part of an \u003ca href=\"http://fortune.com/2016/08/05/facebook-video-police/\">ongoing debate\u003c/a> about what police-civilian standoffs should be live-streamed.\u003c/p>\n\u003cp>\u003cstrong>What now?\u003c/strong>\u003c/p>\n\u003cp>Some in Silicon Valley dismiss the criticisms against Facebook as schadenfreude: Just like taxi drivers don’t like Uber, legacy media envies the success of the social platform and enjoys seeing its leadership on the hot seat.\u003c/p>\n\u003cp>A former employee is not so dismissive and says there is a cultural problem, a stubborn blindness at Facebook and other leading internet companies like Twitter. The source says: “The hardest problems these companies face aren’t technological. They are ethical, and there’s not as much rigor in how it’s done.”\u003c/p>\n\u003cp>At a values level, some experts point out, Facebook has to decide if its solution is free speech (the more people post, the more the truth rises), or clear restrictions.\u003c/p>\n\u003cp>And technically, there’s no shortage of ideas about how to fix the process.\u003c/p>\n\u003cp>A former employee says speech is so complex, you can’t expect Facebook to arrive at the same decision each and every time; but you can expect a company that consistently ranks among the 10 most valuable on Earth, by market cap, to put more thought and resources into its censorship machine.\u003c/p>\n\u003cp>The source argues Facebook could afford to make content management regional — have decisions come from the same country in which a post occurs.\u003c/p>\n\u003cp>Speech norms are highly regional. When Facebook first opened its offices in Hyderabad, India, a former employee says, the guidance the reviewers got was to remove sexual content. In a test run, they ended up removing French kissing. Senior management was blown away. The Indian reviewers were doing something Facebook did not expect but which makes perfect sense for local norms.\u003c/p>\n\u003cp>Harvard business professor Ben Edelman says Facebook could invest engineering resources into categorizing the posts. “It makes no sense at all,” he says, that when a piece of content is flagged, it goes into one long line. The company could have the algorithm track what flagged content is getting the most circulation and move that up in the queue, he suggests.\u003c/p>\n\u003cp>Zuckerberg finds himself at the helm of a company that started as a tech company — run by algorithms, free of human judgment, the mythology went. And now he’s just so clearly the CEO of a media company — replete with highly complex rules (What is hate speech anyway?); with double standards (If it’s “news” it stays, if it’s a rant it goes); and with an enforcement mechanism that is set up to fail.\u003c/p>\n\u003cp>\u003cem>Gabriela Mejias and Justina Vasquez contributed reporting to this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.[aside tag='bay-curious' label='Looking for More Bay Curious?']\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bob Dylan won’t be coming to Stockholm to pick up his 2016 Nobel Prize for literature at the Dec. 10 prize ceremony.\u003c/p>\n\u003cp>The Swedish Academy said Wednesday that Dylan told them “he wishes he could receive the prize personally, but other commitments make it unfortunately impossible.”\u003c/p>\n\u003cp>The 75-year-old American singer-songwriter was awarded the prize on Oct. 13 “for having created new poetic expressions within the great American song tradition.”\u003c/p>\n\u003cp>The literature prize and five other Nobel Prizes will be officially conferred upon winners in Stockholm next month on the anniversary of award founder Alfred Nobel’s death in 1896.\u003c/p>\n\u003cp>Details about who would accept the award on Dylan’s behalf were unclear — more information on that was expected Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Permanent Secretary Sara Danius told Swedish news agency TT the academy received “a personal letter” from Dylan and that he “underlined that he feels extremely honored by the Nobel Prize.”\u003c/p>\n\u003cp>The Academy said it “respects Bob Dylan’s decision,” adding that not travelling to the Swedish capital to personally pick up the prestigious award was “unusual, but not exceptional.”\u003c/p>\n\u003cp>In 2004, Austrian playwright and novelist Elfriede Jelinek stayed home, citing a social phobia.\u003c/p>\n\u003cp>“The award is still theirs, as it now belongs to Bob Dylan,” the Academy said. “We are looking forward to Bob Dylan’s Nobel lecture, which he must hold, according to the requirements, within six months” from Dec. 10.\u003cbr>\nDylan at first was silent after the Nobel announcement but eventually said getting the award left him “speechless.”\u003c/p>\n\u003cp>Dylan has accepted numerous awards over the years, including the Presidential Medal of Freedom, which he picked up at a White House ceremony in 2012. A year later, he became the first rock star voted into the elite American Academy of Arts and Letters, which made him an honorary member.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2000, Dylan traveled to Stockholm to collect the Polar Music Prize from Sweden’s King Carl XVI Gustaf.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Dylan won’t be coming to Stockholm to pick up his 2016 Nobel Prize for literature at the Dec. 10 prize ceremony.\u003c/p>\n\u003cp>The Swedish Academy said Wednesday that Dylan told them “he wishes he could receive the prize personally, but other commitments make it unfortunately impossible.”\u003c/p>\n\u003cp>The 75-year-old American singer-songwriter was awarded the prize on Oct. 13 “for having created new poetic expressions within the great American song tradition.”\u003c/p>\n\u003cp>The literature prize and five other Nobel Prizes will be officially conferred upon winners in Stockholm next month on the anniversary of award founder Alfred Nobel’s death in 1896.\u003c/p>\n\u003cp>Details about who would accept the award on Dylan’s behalf were unclear — more information on that was expected Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Permanent Secretary Sara Danius told Swedish news agency TT the academy received “a personal letter” from Dylan and that he “underlined that he feels extremely honored by the Nobel Prize.”\u003c/p>\n\u003cp>The Academy said it “respects Bob Dylan’s decision,” adding that not travelling to the Swedish capital to personally pick up the prestigious award was “unusual, but not exceptional.”\u003c/p>\n\u003cp>In 2004, Austrian playwright and novelist Elfriede Jelinek stayed home, citing a social phobia.\u003c/p>\n\u003cp>“The award is still theirs, as it now belongs to Bob Dylan,” the Academy said. “We are looking forward to Bob Dylan’s Nobel lecture, which he must hold, according to the requirements, within six months” from Dec. 10.\u003cbr>\nDylan at first was silent after the Nobel announcement but eventually said getting the award left him “speechless.”\u003c/p>\n\u003cp>Dylan has accepted numerous awards over the years, including the Presidential Medal of Freedom, which he picked up at a White House ceremony in 2012. A year later, he became the first rock star voted into the elite American Academy of Arts and Letters, which made him an honorary member.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2000, Dylan traveled to Stockholm to collect the Polar Music Prize from Sweden’s King Carl XVI Gustaf.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "When a Shipping Container Becomes a Mecca for Glass Blowing | KQED",
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"content": "\u003cp>Imagine the distress you would feel hearing that a friend of yours had been priced out of the rental market and taken to living in a temporary shelter in some park nearby.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener\"> Bay Area Glass Institute\u003c/a> (or BAGI to locals) wants you to know things are not quite as dire as that might sound, although the nonprofit arts organization is making do right now in a clutch of shipping containers.\u003c/p>\n\u003cp>One container holds the office; another, the gift shop. A third houses the studio, where senior instructor Treg Silkwood demonstrates his craft. He makes glass-blowing look effortless.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8dJ12jdjLkI]\u003c/p>\n\u003cp>“We melt glass here,” Silkwood says. “It comes out of the furnace in excess of 2,000 degrees. At that temperature, it’s like honey or molasses. It’s a thick, gooey liquid.”\u003c/p>\n\u003ch3>An unorthodox arrangement\u003c/h3>\n\u003cp>This kind of art is usually practiced in permanent buildings with fireproofing and air conditioning — not in a shipping container with three walls, open to the elements.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is an unorthodox arrangement, to say the least. But Damon Gustafson, BAGI’s executive director, says the organization is thrilled to be here. “We looked at just about every space inside the city limits — where we needed to stay, because we’re partially funded by the city,” Gustafson says. “It quickly became very challenging to find a space that was going to suit our needs.”\u003c/p>\n\u003cfigure id=\"attachment_12064350\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12064350 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_2121-800x449.jpg\" alt=\"Seriously: if you didn’t know BAGI was in Kelley Park, on land owned by the city run History San José, you wouldn’t stumble onto this scene. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seriously: if you didn’t know BAGI was in Kelley Park, on land owned by the city-run History San José, you wouldn’t stumble onto this scene. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All this is happening on land owned by the city-run \u003ca href=\"http://historysanjose.org/wp/\" target=\"_blank\" rel=\"noopener\">History San José\u003c/a>, a museum hub in Kelley Park. The city is not going to turn BAGI out, the way its former landlord in Japantown did after 15 years. (The glass institute had 18 months to find a new home after the space they used to rent was sold to a condo developer.)\u003c/p>\n\u003cp>BAGI Board chair Steven Aldrich says a nonprofit simply isn’t a competitive applicant in today’s real estate market. “The options for developers to take a space and turn it into housing or into office space is much more appealing than what we could afford to pay as a nonprofit arts organization,” Aldrich says.\u003c/p>\n\u003cp>BAGI’s annual budget is about $750,000. It has always been lean and self-sufficient, subsisting largely on student fees for glass classes. That, plus the fact that the organization’s glass pumpkins are very popular at art fairs. Unless you’re a student studying glass art at \u003ca href=\"http://ad.sjsu.edu/glass/\" target=\"_blank\" rel=\"noopener\">San Jose State\u003c/a>, there’s little else like the Bay Area Glass Institute in the South Bay.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293344468″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Even in its modest new digs, the institute remains a hot spot for lovers of glass blowers. For Dianne Weiss, a tech executive at Intuit, BAGI is not so much a hobby as it is a family where she feels kinship with kindred spirits. “Once a week, I meet my friends here and we blow glass,” Weiss says. “It takes us outside of emails and business planning, and lets us do something physical and creative. And you work in a team, so it’s a deep community. I think of it as my church or temple.”\u003c/p>\n\u003cfigure id=\"attachment_12064144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12064144\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-800x450.jpg\" alt=\"BAGI makes most of its money running glass working classes for kids and local companies looking for a fun team-building exercise. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BAGI makes most of its money running glass working classes for kids and local companies looking for a fun team-building exercise. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An existential issue\u003c/h3>\n\u003cp>When BAGI was founded 20 years ago, real estate was expensive, but nobody imagined it would become an existential issue. Renters are vulnerable to eviction and price hikes. Buying is close to impossible without outside help. In San Jose, that help is more likely than not to come from the city, even after its redevelopment agency — like every other one in the state — was disbanded a few years ago.\u003c/p>\n\u003cp>“If we had not been able to buy our building three years ago, we would be at the mercy of the market,” says Anjee Helstrup-Alvarez, CEO of the Latino cultural organization \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener\">Movimiento de Arte y Cultura Latino Americana\u003c/a> (MACLA), one of several San Jose nonprofits that moved from renting to owning with a strong assist from the city. “The great thing about owning is we control our destiny.”\u003c/p>\n\u003cp>So could San Jose help BAGI into home ownership? Not for a while. But BAGI’s board doesn’t intend to remain in those shipping containers forever. Right next door, there’s a giant warehouse that used to be filled with a motley collection of historical artifacts from San Jose’s past, stored on dusty shelves. The forgotten space is reminiscent of the \u003ca href=\"https://www.youtube.com/watch?v=Fdjf4lMmiiI\" target=\"_blank\" rel=\"noopener\">final scene\u003c/a> in \u003cem>Raiders of the Lost Ark\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12064143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12064143 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-800x449.jpg\" alt=\"The warehouse may need a lot of work to turn into a glass studio, but the improvements will count against the rent. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The warehouse may need a lot of work to turn into a glass studio, but the improvements will count against the rent. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Damon Gustafson and his buddies on the glass institute board need to raise another $90,000 or so for the retrofit. Marissa Mayer, the CEO of Yahoo!, is reportedly a \u003ca href=\"http://www.theprudentcollector.com/blog/marissa-mayer-chihuly-glass-ceiling/\" target=\"_blank\" rel=\"noopener\">big fan of glass art\u003c/a>. Maybe BAGI should send her a glass pumpkin to kickstart a conversation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Imagine the distress you would feel hearing that a friend of yours had been priced out of the rental market and taken to living in a temporary shelter in some park nearby.\u003c/p>\n\u003cp>The\u003ca href=\"http://www.bagi.org/\" target=\"_blank\" rel=\"noopener\"> Bay Area Glass Institute\u003c/a> (or BAGI to locals) wants you to know things are not quite as dire as that might sound, although the nonprofit arts organization is making do right now in a clutch of shipping containers.\u003c/p>\n\u003cp>One container holds the office; another, the gift shop. A third houses the studio, where senior instructor Treg Silkwood demonstrates his craft. He makes glass-blowing look effortless.\u003c/p>\n\u003cp>\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/8dJ12jdjLkI'\n title='//www.youtube.com/embed/8dJ12jdjLkI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We melt glass here,” Silkwood says. “It comes out of the furnace in excess of 2,000 degrees. At that temperature, it’s like honey or molasses. It’s a thick, gooey liquid.”\u003c/p>\n\u003ch3>An unorthodox arrangement\u003c/h3>\n\u003cp>This kind of art is usually practiced in permanent buildings with fireproofing and air conditioning — not in a shipping container with three walls, open to the elements.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is an unorthodox arrangement, to say the least. But Damon Gustafson, BAGI’s executive director, says the organization is thrilled to be here. “We looked at just about every space inside the city limits — where we needed to stay, because we’re partially funded by the city,” Gustafson says. “It quickly became very challenging to find a space that was going to suit our needs.”\u003c/p>\n\u003cfigure id=\"attachment_12064350\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12064350 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/IMG_2121-800x449.jpg\" alt=\"Seriously: if you didn’t know BAGI was in Kelley Park, on land owned by the city run History San José, you wouldn’t stumble onto this scene. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/IMG_2121-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Seriously: if you didn’t know BAGI was in Kelley Park, on land owned by the city-run History San José, you wouldn’t stumble onto this scene. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All this is happening on land owned by the city-run \u003ca href=\"http://historysanjose.org/wp/\" target=\"_blank\" rel=\"noopener\">History San José\u003c/a>, a museum hub in Kelley Park. The city is not going to turn BAGI out, the way its former landlord in Japantown did after 15 years. (The glass institute had 18 months to find a new home after the space they used to rent was sold to a condo developer.)\u003c/p>\n\u003cp>BAGI Board chair Steven Aldrich says a nonprofit simply isn’t a competitive applicant in today’s real estate market. “The options for developers to take a space and turn it into housing or into office space is much more appealing than what we could afford to pay as a nonprofit arts organization,” Aldrich says.\u003c/p>\n\u003cp>BAGI’s annual budget is about $750,000. It has always been lean and self-sufficient, subsisting largely on student fees for glass classes. That, plus the fact that the organization’s glass pumpkins are very popular at art fairs. Unless you’re a student studying glass art at \u003ca href=\"http://ad.sjsu.edu/glass/\" target=\"_blank\" rel=\"noopener\">San Jose State\u003c/a>, there’s little else like the Bay Area Glass Institute in the South Bay.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/293344468″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/293344468″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even in its modest new digs, the institute remains a hot spot for lovers of glass blowers. For Dianne Weiss, a tech executive at Intuit, BAGI is not so much a hobby as it is a family where she feels kinship with kindred spirits. “Once a week, I meet my friends here and we blow glass,” Weiss says. “It takes us outside of emails and business planning, and lets us do something physical and creative. And you work in a team, so it’s a deep community. I think of it as my church or temple.”\u003c/p>\n\u003cfigure id=\"attachment_12064144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12064144\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-800x450.jpg\" alt=\"BAGI makes most of its money running glass working classes for kids and local companies looking for a fun team-building exercise. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21124_IMG_2067-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BAGI makes most of its money running glass working classes for kids and local companies looking for a fun team-building exercise. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An existential issue\u003c/h3>\n\u003cp>When BAGI was founded 20 years ago, real estate was expensive, but nobody imagined it would become an existential issue. Renters are vulnerable to eviction and price hikes. Buying is close to impossible without outside help. In San Jose, that help is more likely than not to come from the city, even after its redevelopment agency — like every other one in the state — was disbanded a few years ago.\u003c/p>\n\u003cp>“If we had not been able to buy our building three years ago, we would be at the mercy of the market,” says Anjee Helstrup-Alvarez, CEO of the Latino cultural organization \u003ca href=\"http://maclaarte.org/\" target=\"_blank\" rel=\"noopener\">Movimiento de Arte y Cultura Latino Americana\u003c/a> (MACLA), one of several San Jose nonprofits that moved from renting to owning with a strong assist from the city. “The great thing about owning is we control our destiny.”\u003c/p>\n\u003cp>So could San Jose help BAGI into home ownership? Not for a while. But BAGI’s board doesn’t intend to remain in those shipping containers forever. Right next door, there’s a giant warehouse that used to be filled with a motley collection of historical artifacts from San Jose’s past, stored on dusty shelves. The forgotten space is reminiscent of the \u003ca href=\"https://www.youtube.com/watch?v=Fdjf4lMmiiI\" target=\"_blank\" rel=\"noopener\">final scene\u003c/a> in \u003cem>Raiders of the Lost Ark\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_12064143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12064143 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-800x449.jpg\" alt=\"The warehouse may need a lot of work to turn into a glass studio, but the improvements will count against the rent. \" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/RS21123_IMG_2059-qut-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The warehouse may need a lot of work to turn into a glass studio, but the improvements will count against the rent. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Damon Gustafson and his buddies on the glass institute board need to raise another $90,000 or so for the retrofit. Marissa Mayer, the CEO of Yahoo!, is reportedly a \u003ca href=\"http://www.theprudentcollector.com/blog/marissa-mayer-chihuly-glass-ceiling/\" target=\"_blank\" rel=\"noopener\">big fan of glass art\u003c/a>. Maybe BAGI should send her a glass pumpkin to kickstart a conversation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "massive-art-collection-full-of-sf-underground-comix-up-for-auction",
"title": "Massive Art Collection Full of SF Underground Comix Up for Auction",
"publishDate": 1479236097,
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"headTitle": "Massive Art Collection Full of SF Underground Comix Up for Auction | KQED",
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"content": "\u003cp>A Philadelphia-based comic collector who spent almost 40 years building his museum-worthy collection of underground comic art — much of it purchased directly from the artists themselves — is putting it up for auction this week.\u003c/p>\n\u003cp>Eric Sack, author of \u003cem>The Life and Times of R. Crumb: Comments From Contemporaries,\u003c/em> will see the majority of his collection of ’60s and ’70s comic art auctioned off on Nov. 17 and 18 at \u003ca href=\"https://www.ha.com/c/search-results.zx?N=0+793+794+791+792+1893+1577+2088&Ntk=SI_Titles-Desc&Nty=1&Ntt=Eric+Sack&limitTo=all&ic=homepage-search-A-K-071316\" target=\"_blank\" rel=\"noopener\">Heritage Auctions\u003c/a>. Sack began collecting in 1978, and over the decades amassed over 1,300 pages of original works from artists such as Robert Crumb, S. Clay Wilson and Spain Rodriguez. The collection achieved such prominence that it was loaned to \u003ca href=\"http://undergroundcomixart.com/exhibitions/\" target=\"_blank\" rel=\"noopener\">various exhibitions\u003c/a> later in his collecting career.\u003c/p>\n\u003cp>Speaking on the phone last week, Sack, 62, says he put his collection up for auction because he felt he couldn’t collect any more artwork. He had bought everything that he wanted, and could afford.\u003c/p>\n\u003cfigure id=\"attachment_12318494\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg\" alt=\"Drawing of comic collector Eric Sack by artist Jim Lyons\" width=\"800\" height=\"1011\" class=\"size-medium wp-image-12318494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection.jpg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drawing of comic collector Eric Sack by artist Jay Lynch \u003ccite>(Photo: Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was nowhere to go with my collection but down,” Sack says. “There wasn’t much else for me to buy, which is a little weird to say. But short of going into collections where I had to offer stupid money that I couldn’t really afford to do, I did a pretty good job.”\u003c/p>\n\u003cp>Except for about 50 pieces he’ll keep from his 1,300 pages of comic art, he’s selling it all.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most valuable pieces in Sack’s collection come from R. Crumb, who Sack cited as his favorite artist, and one of the first artists whose works he bought. Some of the pieces from Crumb in Sack’s collection are estimated to be worth tens of thousands, including a two-page original story artwork titled “Freak Out Funnies,” which was estimated to be worth $40,000, \u003ca href=\"http://www.artlyst.com/articles/original-underground-comix-art-including-r-crumb-to-be-sold-at-auction\" target=\"_blank\" rel=\"noopener\">according to Artlyst\u003c/a>. \u003c/p>\n\u003cp>This is a great time for Sack to sell, as the market for underground comic art has grown in recent years, says \u003ca href=\"http://www.patrickrosenkranz.com/Welcome.html\" target=\"_blank\" rel=\"noopener\">Patrick Rosenkranz\u003c/a>, author of \u003ci>Rebel Visions: The Underground Comix Revolution\u003c/i>. The global popularity of Crumb and \u003ci>Juxtapoz\u003c/i> founder Robert Williams — and the success of museum exhibits featuring works from collections like Sack’s — have pushed prices for underground comix to fine art prices. For example, Rosenkranz says copies of \u003cem>Zap Comix\u003c/em> #1, which were drawn completely by Crumb and sold by his wife in the Haight-Ashbury back in 1968, can fetch as much as $10,000 if they are first editions with “Printed by Charles Plymell” on the back cover.\u003c/p>\n\u003cp>Rosenkranz feels other collectors will start selling their collections as well, as the market appears to peak. \u003c/p>\n\u003cfigure id=\"attachment_12349428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg\" alt=\"Zap Logo\" width=\"800\" height=\"348\" class=\"size-medium wp-image-12349428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-768x334.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1020x444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1180x513.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-960x418.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-520x226.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zap Logo \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Any collectible goes out of style after the people who experienced it in their own lives die out,” Rosenkranz says. “Who cares about Hopalong Cassidy anymore? But 20 years ago a Hopalong Cassidy collection could fetch a decent price.”\u003c/p>\n\u003cp>Still, the Sack auction marks the end of an era in the Underground Comix world. Well-known in the scene for collecting pieces in the ’80s, when the artists were practically forgotten, Sack picked up a lot coveted works for cheap. He also took his pursuit of original works much more seriously than your average collector; for example, he says he spent 20 years pushing Wilson to sell one of his earliest pieces.\u003c/p>\n\u003cp>“I don’t know if he told you any stories about ‘figurative’ briefcases full of cash,” Rosenkranz says, “but he’d go up to someone’s studio or store, show the cash, say, ‘I want this, this and this’ and walk out with all of it.”\u003c/p>\n\u003cfigure id=\"attachment_12349429\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg\" alt=\"'R.Crumb' by R. Crumb\" width=\"640\" height=\"953\" class=\"size-large wp-image-12349429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-520x775.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘R.Crumb’ by R. Crumb \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sack says he’ll miss his ritual of poring over his new purchases, examining each drawing for signs of the artist’s creative process, such as streaks of white out and doodles on the back. But his passion never rubbed off on his children, which Rosenkranz says is a common reason for Underground Comix collectors to sell.\u003c/p>\n\u003cp>“A lot of collectors are getting old and their kids don’t want the stuff — either they’re not interested, or they’re embarrassed by it, or they think it’s too dirty,” Rosenkranz says.\u003c/p>\n\u003cp>In Sack’s case, loaning out his collection to various museums led to family trips to Europe, yet his kids never showed interest — that is, until after Sack set up the auction.\u003c/p>\n\u003cp>“My youngest, who is in her 20s, recently posted the Artlyst article on her Facebook page,” Sack says. “In the heading she put, ‘Oh my God, my dad’s weird hobby is now the Eric Sack Collection.'” \u003c/p>\n\u003cp>\u003ci>Watch a video of Sack discussing his collection:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O89JuAd7wDQ\u003c/p>\n\n",
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"title": "Massive Art Collection Full of SF Underground Comix Up for Auction | KQED",
"description": "A one-of-a-kind collection of underground comic art that was used for museum exhibitions goes up for auction this week.",
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"headline": "Massive Art Collection Full of SF Underground Comix Up for Auction",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Philadelphia-based comic collector who spent almost 40 years building his museum-worthy collection of underground comic art — much of it purchased directly from the artists themselves — is putting it up for auction this week.\u003c/p>\n\u003cp>Eric Sack, author of \u003cem>The Life and Times of R. Crumb: Comments From Contemporaries,\u003c/em> will see the majority of his collection of ’60s and ’70s comic art auctioned off on Nov. 17 and 18 at \u003ca href=\"https://www.ha.com/c/search-results.zx?N=0+793+794+791+792+1893+1577+2088&Ntk=SI_Titles-Desc&Nty=1&Ntt=Eric+Sack&limitTo=all&ic=homepage-search-A-K-071316\" target=\"_blank\" rel=\"noopener\">Heritage Auctions\u003c/a>. Sack began collecting in 1978, and over the decades amassed over 1,300 pages of original works from artists such as Robert Crumb, S. Clay Wilson and Spain Rodriguez. The collection achieved such prominence that it was loaned to \u003ca href=\"http://undergroundcomixart.com/exhibitions/\" target=\"_blank\" rel=\"noopener\">various exhibitions\u003c/a> later in his collecting career.\u003c/p>\n\u003cp>Speaking on the phone last week, Sack, 62, says he put his collection up for auction because he felt he couldn’t collect any more artwork. He had bought everything that he wanted, and could afford.\u003c/p>\n\u003cfigure id=\"attachment_12318494\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg\" alt=\"Drawing of comic collector Eric Sack by artist Jim Lyons\" width=\"800\" height=\"1011\" class=\"size-medium wp-image-12318494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Erick-Sack-collection.jpg 950w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drawing of comic collector Eric Sack by artist Jay Lynch \u003ccite>(Photo: Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was nowhere to go with my collection but down,” Sack says. “There wasn’t much else for me to buy, which is a little weird to say. But short of going into collections where I had to offer stupid money that I couldn’t really afford to do, I did a pretty good job.”\u003c/p>\n\u003cp>Except for about 50 pieces he’ll keep from his 1,300 pages of comic art, he’s selling it all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most valuable pieces in Sack’s collection come from R. Crumb, who Sack cited as his favorite artist, and one of the first artists whose works he bought. Some of the pieces from Crumb in Sack’s collection are estimated to be worth tens of thousands, including a two-page original story artwork titled “Freak Out Funnies,” which was estimated to be worth $40,000, \u003ca href=\"http://www.artlyst.com/articles/original-underground-comix-art-including-r-crumb-to-be-sold-at-auction\" target=\"_blank\" rel=\"noopener\">according to Artlyst\u003c/a>. \u003c/p>\n\u003cp>This is a great time for Sack to sell, as the market for underground comic art has grown in recent years, says \u003ca href=\"http://www.patrickrosenkranz.com/Welcome.html\" target=\"_blank\" rel=\"noopener\">Patrick Rosenkranz\u003c/a>, author of \u003ci>Rebel Visions: The Underground Comix Revolution\u003c/i>. The global popularity of Crumb and \u003ci>Juxtapoz\u003c/i> founder Robert Williams — and the success of museum exhibits featuring works from collections like Sack’s — have pushed prices for underground comix to fine art prices. For example, Rosenkranz says copies of \u003cem>Zap Comix\u003c/em> #1, which were drawn completely by Crumb and sold by his wife in the Haight-Ashbury back in 1968, can fetch as much as $10,000 if they are first editions with “Printed by Charles Plymell” on the back cover.\u003c/p>\n\u003cp>Rosenkranz feels other collectors will start selling their collections as well, as the market appears to peak. \u003c/p>\n\u003cfigure id=\"attachment_12349428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg\" alt=\"Zap Logo\" width=\"800\" height=\"348\" class=\"size-medium wp-image-12349428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-800x348.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-160x70.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-768x334.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1020x444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-1180x513.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-960x418.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-240x104.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-375x163.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zap-logo-520x226.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zap Logo \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Any collectible goes out of style after the people who experienced it in their own lives die out,” Rosenkranz says. “Who cares about Hopalong Cassidy anymore? But 20 years ago a Hopalong Cassidy collection could fetch a decent price.”\u003c/p>\n\u003cp>Still, the Sack auction marks the end of an era in the Underground Comix world. Well-known in the scene for collecting pieces in the ’80s, when the artists were practically forgotten, Sack picked up a lot coveted works for cheap. He also took his pursuit of original works much more seriously than your average collector; for example, he says he spent 20 years pushing Wilson to sell one of his earliest pieces.\u003c/p>\n\u003cp>“I don’t know if he told you any stories about ‘figurative’ briefcases full of cash,” Rosenkranz says, “but he’d go up to someone’s studio or store, show the cash, say, ‘I want this, this and this’ and walk out with all of it.”\u003c/p>\n\u003cfigure id=\"attachment_12349429\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg\" alt=\"'R.Crumb' by R. Crumb\" width=\"640\" height=\"953\" class=\"size-large wp-image-12349429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-1180x1758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-960x1430.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/R-Crumb-520x775.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘R.Crumb’ by R. Crumb \u003ccite>(Courtesy of Eric Sack)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sack says he’ll miss his ritual of poring over his new purchases, examining each drawing for signs of the artist’s creative process, such as streaks of white out and doodles on the back. But his passion never rubbed off on his children, which Rosenkranz says is a common reason for Underground Comix collectors to sell.\u003c/p>\n\u003cp>“A lot of collectors are getting old and their kids don’t want the stuff — either they’re not interested, or they’re embarrassed by it, or they think it’s too dirty,” Rosenkranz says.\u003c/p>\n\u003cp>In Sack’s case, loaning out his collection to various museums led to family trips to Europe, yet his kids never showed interest — that is, until after Sack set up the auction.\u003c/p>\n\u003cp>“My youngest, who is in her 20s, recently posted the Artlyst article on her Facebook page,” Sack says. “In the heading she put, ‘Oh my God, my dad’s weird hobby is now the Eric Sack Collection.'” \u003c/p>\n\u003cp>\u003ci>Watch a video of Sack discussing his collection:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O89JuAd7wDQ'\n title='//www.youtube.com/embed/O89JuAd7wDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"disqusTitle": "WTF? New Book Explores Our Fascination With Profanity",
"title": "WTF? New Book Explores Our Fascination With Profanity",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Back in 1939, movie audiences were shocked at Clark Gable’s groundbreaking D-bomb — “Frankly my dear, I don’t give a damn” — in the classic film \"Gone With the Wind.\"\u003c/p>\n\u003cp>Seventy-seven years later, we have Donald Trump, for example. A president-elect who has no problem spouting searing curses willy-nilly into the closest available microphone. Of course, he wouldn’t be the first politico with such a tongue. Hillary Clinton, George W. Bush and Richard Nixon have all dropped well-placed expletives.\u003c/p>\n\u003cp>Profanity has become an accepted part of American culture -- its definition, power and impact changing with every generation.\u003c/p>\n\u003cp>It’s a topic UC San Diego professor Benjamin Bergen covers in his new book, \"What the F: What Swearing Reveals About Our Language, Our Brains and Ourselves.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/291572714\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>“You have to remember that a language is reinvented by every successive generation of new speakers of that language,” says Bergen. “The words that used to be so profoundly profane are now starting to become part of the furniture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bergen explains why such language might be appealing to a candidate.\u003c/p>\n\u003cp>“Because it’s all about self-presentation,” Bergen says. “’Do I want to present myself as a man or woman of the people? 'I’m just one of you, I have strong emotions about these things.’ If so, then you will use informal language and profanity.”\u003c/p>\n\u003cp>The implication being that these days, profanity is the language of the people. Everybody’s working blue.\u003c/p>\n\u003cp>I asked a few Angelenos to chime in on their personal oaths.\u003c/p>\n\u003cp>“'Fuck' comes out of my mouth like every other word. I think that it just flows nicely,” says Beth Miller. “I like swearing. I think it’s fun. I like to paint in it.\"\u003c/p>\n\u003cp>For Joseph Perez, “'Shit' is my go-to word. Stubbing the toe, frustrated with the kids, pissed off at the wife.”\u003c/p>\n\u003cp>“It’s always 'fuck,' ” offers Alana Hillman. “If I'm trying to switch it up, it’d be 'shit.'”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I like the punctuation of a swear word. My act goes better with a few sprinklings of pepper.'\u003ccite>Comedian Maria Bamford\u003c/cite>\u003c/aside>\n\u003cp>“I think my go-to curse word is some variation of the word 'fuck,' for sure,” admits Damian Owl. “It’s versatile. Fuck can even be a good thing, like, 'fuck yeah,' or 'fuck you.' It has a lot of ways it can go.”\u003c/p>\n\u003cp>If you heard on the radio what you just read, those filthy words would have been tidied up. Which brings us to bleeping.\u003c/p>\n\u003cp>“The problem is that it doesn’t work at all,” Bergen states. And “those bleeped words? People subsequently don’t remember that they were bleeped. They think they actually heard the word itself.”\u003c/p>\n\u003cp>For example, take a sentence like, “Gosh, Margie’s BLEEP smells delicious.” What might be under that bleep?\u003c/p>\n\u003cp>No, it was “casserole.”\u003c/p>\n\u003cp>One of the strongest forces in opening the public embrace of profanity is comedy. Comedian Maria Bamford knows all about that. She stars in her own TV show, \"Lady Dynamite.\"\u003c/p>\n\u003cp>“I think my dad tried to watch the show that I have on Netflix with his friends,” says Bamford, “and they were all a little bit worried 'cause it is a saucy show. But not in comparison to others. Now there's just a lot more adult material and it's not as big a deal.”\u003c/p>\n\u003cp>Though she doesn’t slather on the raunch as much as some comics, “I like the punctuation of a swear word,” Bamford admits. “My act goes better with a few sprinklings of pepper. One of my favorite jokes I ever wrote was that my parents are heckling me and my mom says, ‘Well, shut the fuck up you stupid cunt before I snap your neck in half. Honey, I’m just reading what you wrote down here.’ Still hurts, mother.”\u003c/p>\n\u003cp>According to Bergen, it’s all part of the shift from thinking words are bad because we’re told they’re bad to finding reasons why they actually are bad.\u003c/p>\n\u003cp>“What you find is that the worst words of the language are not the F word or the SH word, it’s actually slurs,” Bergen explains. “Words that insult people based on their ethnicity or race or religion, sexual orientation. These are the words that people find to be most offensive. If you look at the survey data, the four-letter SH word is actually found to be less offensive than the word 'scum.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s right, scum. So, culturally speaking, we’re swearing more, but at the same time, we’re thinking about it more. So maybe American culture isn’t so fudged up after all.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back in 1939, movie audiences were shocked at Clark Gable’s groundbreaking D-bomb — “Frankly my dear, I don’t give a damn” — in the classic film \"Gone With the Wind.\"\u003c/p>\n\u003cp>Seventy-seven years later, we have Donald Trump, for example. A president-elect who has no problem spouting searing curses willy-nilly into the closest available microphone. Of course, he wouldn’t be the first politico with such a tongue. Hillary Clinton, George W. Bush and Richard Nixon have all dropped well-placed expletives.\u003c/p>\n\u003cp>Profanity has become an accepted part of American culture -- its definition, power and impact changing with every generation.\u003c/p>\n\u003cp>It’s a topic UC San Diego professor Benjamin Bergen covers in his new book, \"What the F: What Swearing Reveals About Our Language, Our Brains and Ourselves.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/291572714&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/291572714'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“You have to remember that a language is reinvented by every successive generation of new speakers of that language,” says Bergen. “The words that used to be so profoundly profane are now starting to become part of the furniture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bergen explains why such language might be appealing to a candidate.\u003c/p>\n\u003cp>“Because it’s all about self-presentation,” Bergen says. “’Do I want to present myself as a man or woman of the people? 'I’m just one of you, I have strong emotions about these things.’ If so, then you will use informal language and profanity.”\u003c/p>\n\u003cp>The implication being that these days, profanity is the language of the people. Everybody’s working blue.\u003c/p>\n\u003cp>I asked a few Angelenos to chime in on their personal oaths.\u003c/p>\n\u003cp>“'Fuck' comes out of my mouth like every other word. I think that it just flows nicely,” says Beth Miller. “I like swearing. I think it’s fun. I like to paint in it.\"\u003c/p>\n\u003cp>For Joseph Perez, “'Shit' is my go-to word. Stubbing the toe, frustrated with the kids, pissed off at the wife.”\u003c/p>\n\u003cp>“It’s always 'fuck,' ” offers Alana Hillman. “If I'm trying to switch it up, it’d be 'shit.'”\u003c/p>\n\u003caside class=\"pullquote alignright\">'I like the punctuation of a swear word. My act goes better with a few sprinklings of pepper.'\u003ccite>Comedian Maria Bamford\u003c/cite>\u003c/aside>\n\u003cp>“I think my go-to curse word is some variation of the word 'fuck,' for sure,” admits Damian Owl. “It’s versatile. Fuck can even be a good thing, like, 'fuck yeah,' or 'fuck you.' It has a lot of ways it can go.”\u003c/p>\n\u003cp>If you heard on the radio what you just read, those filthy words would have been tidied up. Which brings us to bleeping.\u003c/p>\n\u003cp>“The problem is that it doesn’t work at all,” Bergen states. And “those bleeped words? People subsequently don’t remember that they were bleeped. They think they actually heard the word itself.”\u003c/p>\n\u003cp>For example, take a sentence like, “Gosh, Margie’s BLEEP smells delicious.” What might be under that bleep?\u003c/p>\n\u003cp>No, it was “casserole.”\u003c/p>\n\u003cp>One of the strongest forces in opening the public embrace of profanity is comedy. Comedian Maria Bamford knows all about that. She stars in her own TV show, \"Lady Dynamite.\"\u003c/p>\n\u003cp>“I think my dad tried to watch the show that I have on Netflix with his friends,” says Bamford, “and they were all a little bit worried 'cause it is a saucy show. But not in comparison to others. Now there's just a lot more adult material and it's not as big a deal.”\u003c/p>\n\u003cp>Though she doesn’t slather on the raunch as much as some comics, “I like the punctuation of a swear word,” Bamford admits. “My act goes better with a few sprinklings of pepper. One of my favorite jokes I ever wrote was that my parents are heckling me and my mom says, ‘Well, shut the fuck up you stupid cunt before I snap your neck in half. Honey, I’m just reading what you wrote down here.’ Still hurts, mother.”\u003c/p>\n\u003cp>According to Bergen, it’s all part of the shift from thinking words are bad because we’re told they’re bad to finding reasons why they actually are bad.\u003c/p>\n\u003cp>“What you find is that the worst words of the language are not the F word or the SH word, it’s actually slurs,” Bergen explains. “Words that insult people based on their ethnicity or race or religion, sexual orientation. These are the words that people find to be most offensive. If you look at the survey data, the four-letter SH word is actually found to be less offensive than the word 'scum.'”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s right, scum. So, culturally speaking, we’re swearing more, but at the same time, we’re thinking about it more. So maybe American culture isn’t so fudged up after all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> is responding to the news of Trump’s impending presidency by planning an outreach tour through some of the most conservative areas of the United States.\u003c/p>\n\u003cp>In the summer of 2018, the Chorus plans to visit Mississippi, Alabama, North Carolina, Florida and possibly additional southern states for a two-week, 40th anniversary “Building Bridges Tour.” The ensemble aims to instill hope in members of the LGBTQ community in those places in the wake of the presidential election results, as well as educate people less receptive to gay culture.\u003c/p>\n\u003cfigure id=\"attachment_12345932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-800x434.jpg\" alt=\"The San Francisco Gay Men’s Chorus in performance at Davies Symphony Hall in 2015\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-1020x554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-1920x1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107.jpg 1990w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Men’s Chorus in performance at Davies Symphony Hall in 2015 \u003ccite>(Photo: Gareth Gooch Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re doing this because we’re aware the events of last Tuesday have left many in the LGBTQ community feeling either unsafe or wondering about what their future holds, and if their rights are at stake,” says Chris Verdugo, the chorus’s executive director. “We in San Francisco and other urban cities are fortunate to have the support of large LGBTQ organizations like \u003ca href=\"http://www.glaad.org/\" target=\"_blank\" rel=\"noopener\">GLAAD\u003c/a>. These states in the south don’t have that kind of support. So it was obvious that we needed to take to our our own backyard and bring a message of hope, equality and perseverance to our brothers and sisters.”\u003c/p>\n\u003cp>Political activism is ingrained of the Gay Men’s Chorus’ DNA. Last July, the ensemble performed the song “If You Were Gay” from the musical \u003cem>Avenue Q\u003c/em> outside the Colorado Springs headquarters of the conservative, christian group \u003ca href=\"http://www.focusonthefamily.com/\" target=\"_blank\" rel=\"noopener\">Focus on the Family\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SFGMC Visits Focus on the Family\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fLMboZ2yWUE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Verdugo, who is no stranger to opposition from anti-gay groups, having encountered a Westboro Baptist Church picket line while on tour in Kansas in 2013 with his former chorus, the \u003ca href=\"http://gmcla.org/gmcla3/\" target=\"_blank\" rel=\"noopener\">Gay Men’s Chorus of Los Angeles\u003c/a>, says the concert at Focus on the Family passed without incident. “It wasn’t as if we had an open invitation,” Verdugo says. “But it was very peaceful.”\u003c/p>\n\u003cp>Verdugo says he hopes the chorus will be able to use music and storytelling to bridge the gap in divisive communities when on tour in 2018. But he’s anticipating potential hostility from people who aren’t interested in hearing the chorus’ unifying message. He says the chorus will have a solid plan in place to deal with potential assaults. “\u003cspan style=\"font-weight: 400\">If we encounter hostility we will combat it with the tools we have,” Verdugo says. “We’re here to take a stand and we will take it from a base of love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Verdugo says roughly 150 singers of the 313-strong choir will join the journey through the south. Verdugo says the chorus will raise the $200,000-plus tour budget through private funders and corporate support. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project replaces the chorus’ previously-planned 2018 tour to Cuba and Mexico. “Those plans are now on hold,” Verdugo says. “This is much more important to be in our own backyard and supporting our own brothers and sisters who are American as they go through this.”\u003c/span>\u003c/p>\n\u003cp>Verdugo says the San Francisco Gay Men’s Chorus’ announcement is already inspiring other LGBTQ musical ensembles around the country to consider undertaking similar outreach programs, though no other group has yet formally announced its intentions.\u003c/p>\n\u003cp>In conjunction with the announcement of the “Building Bridges Tour,” the San Francisco Gay Men’s Chorus released its performance of the song “There Will Be Light” from the gritty rock musical \u003cem>Next to Normal\u003c/em> on YouTube.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SFGMC - There Will Be Light\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lVuwIBvu-N0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sfgmc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Gay Men’s Chorus\u003c/a> is responding to the news of Trump’s impending presidency by planning an outreach tour through some of the most conservative areas of the United States.\u003c/p>\n\u003cp>In the summer of 2018, the Chorus plans to visit Mississippi, Alabama, North Carolina, Florida and possibly additional southern states for a two-week, 40th anniversary “Building Bridges Tour.” The ensemble aims to instill hope in members of the LGBTQ community in those places in the wake of the presidential election results, as well as educate people less receptive to gay culture.\u003c/p>\n\u003cfigure id=\"attachment_12345932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-800x434.jpg\" alt=\"The San Francisco Gay Men’s Chorus in performance at Davies Symphony Hall in 2015\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-1020x554.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-1920x1042.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-375x204.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2015_SFGMC_Davies_Credit-Gareth-Gooch-e1479171545107.jpg 1990w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Gay Men’s Chorus in performance at Davies Symphony Hall in 2015 \u003ccite>(Photo: Gareth Gooch Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re doing this because we’re aware the events of last Tuesday have left many in the LGBTQ community feeling either unsafe or wondering about what their future holds, and if their rights are at stake,” says Chris Verdugo, the chorus’s executive director. “We in San Francisco and other urban cities are fortunate to have the support of large LGBTQ organizations like \u003ca href=\"http://www.glaad.org/\" target=\"_blank\" rel=\"noopener\">GLAAD\u003c/a>. These states in the south don’t have that kind of support. So it was obvious that we needed to take to our our own backyard and bring a message of hope, equality and perseverance to our brothers and sisters.”\u003c/p>\n\u003cp>Political activism is ingrained of the Gay Men’s Chorus’ DNA. Last July, the ensemble performed the song “If You Were Gay” from the musical \u003cem>Avenue Q\u003c/em> outside the Colorado Springs headquarters of the conservative, christian group \u003ca href=\"http://www.focusonthefamily.com/\" target=\"_blank\" rel=\"noopener\">Focus on the Family\u003c/a>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SFGMC Visits Focus on the Family\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fLMboZ2yWUE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Verdugo, who is no stranger to opposition from anti-gay groups, having encountered a Westboro Baptist Church picket line while on tour in Kansas in 2013 with his former chorus, the \u003ca href=\"http://gmcla.org/gmcla3/\" target=\"_blank\" rel=\"noopener\">Gay Men’s Chorus of Los Angeles\u003c/a>, says the concert at Focus on the Family passed without incident. “It wasn’t as if we had an open invitation,” Verdugo says. “But it was very peaceful.”\u003c/p>\n\u003cp>Verdugo says he hopes the chorus will be able to use music and storytelling to bridge the gap in divisive communities when on tour in 2018. But he’s anticipating potential hostility from people who aren’t interested in hearing the chorus’ unifying message. He says the chorus will have a solid plan in place to deal with potential assaults. “\u003cspan style=\"font-weight: 400\">If we encounter hostility we will combat it with the tools we have,” Verdugo says. “We’re here to take a stand and we will take it from a base of love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Verdugo says roughly 150 singers of the 313-strong choir will join the journey through the south. Verdugo says the chorus will raise the $200,000-plus tour budget through private funders and corporate support. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The project replaces the chorus’ previously-planned 2018 tour to Cuba and Mexico. “Those plans are now on hold,” Verdugo says. “This is much more important to be in our own backyard and supporting our own brothers and sisters who are American as they go through this.”\u003c/span>\u003c/p>\n\u003cp>Verdugo says the San Francisco Gay Men’s Chorus’ announcement is already inspiring other LGBTQ musical ensembles around the country to consider undertaking similar outreach programs, though no other group has yet formally announced its intentions.\u003c/p>\n\u003cp>In conjunction with the announcement of the “Building Bridges Tour,” the San Francisco Gay Men’s Chorus released its performance of the song “There Will Be Light” from the gritty rock musical \u003cem>Next to Normal\u003c/em> on YouTube.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"SFGMC - There Will Be Light\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lVuwIBvu-N0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Tinder Update Allows Gender Options Beyond 'Man,' 'Woman'",
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"content": "\u003cp>LOS ANGELES — Tinder has started giving users the option to select a gender other than man or woman.\u003c/p>\n\u003cp>The online dating app has announced that its latest update allows users to type a word that describes their gender identity. The West Hollywood-based company \u003ca href=\"http://blog.gotinder.com/genders/\" target=\"_blank\">says in a blog post\u003c/a> Tuesday that users also can choose to be shown in searches that best reflect that identity.\u003c/p>\n\u003cp>Tinder says it didn't have \"the right tools to serve our diverse community in the past, but that changes today.\" It says people who believe they were wrongfully removed over their gender selection are invited back to the platform.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11175611\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/TinderCaps-800x504.jpg\" alt=\"tindercaps\" width=\"800\" height=\"504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-800x504.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1020x643.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-960x605.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-240x151.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-375x236.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-520x328.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The app was set up with input from GLAAD, an organization that monitors media and advocates for lesbian, gay, bisexual and transgender people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The update also lands during \u003ca href=\"http://www.glsen.org/article/transgender-awareness-week\" target=\"_blank\">Transgender Awareness Week\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XP90QAnmaA4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES — Tinder has started giving users the option to select a gender other than man or woman.\u003c/p>\n\u003cp>The online dating app has announced that its latest update allows users to type a word that describes their gender identity. The West Hollywood-based company \u003ca href=\"http://blog.gotinder.com/genders/\" target=\"_blank\">says in a blog post\u003c/a> Tuesday that users also can choose to be shown in searches that best reflect that identity.\u003c/p>\n\u003cp>Tinder says it didn't have \"the right tools to serve our diverse community in the past, but that changes today.\" It says people who believe they were wrongfully removed over their gender selection are invited back to the platform.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-11175611\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/TinderCaps-800x504.jpg\" alt=\"tindercaps\" width=\"800\" height=\"504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-800x504.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1020x643.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-1180x744.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-960x605.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-240x151.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-375x236.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/TinderCaps-520x328.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The app was set up with input from GLAAD, an organization that monitors media and advocates for lesbian, gay, bisexual and transgender people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "White House Honoring Two Bay Area Groups for Work with Youth",
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"content": "\u003cp>This Tuesday, First Lady Michelle Obama will present National Arts and Humanities Youth Awards to Bay Area groups — \u003ca href=\"https://www.bavc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Bay Area Video Coalition (BAVC)\u003c/a> and \u003ca href=\"http://cimcc.org/\" target=\"_blank\" rel=\"noopener\">Santa Rosa’s California Indian Museum and Cultural Center\u003c/a> — for their work with young people.\u003c/p>\n\u003cp>BAVC is celebrating its 40th year as a non-profit resource for Bay Area video makers, serving over 7,500 freelancers, filmmakers, and students each year.\u003c/p>\n\u003cp>Staffer Lauren Taylor and trainee Nicole Rivera will accept the award for BAVC. Rivera learned how to make short documentaries in BAVC’s Next Gen Program, which teaches media literacy to low income teens.\u003c/p>\n\u003cfigure id=\"attachment_12345497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-800x533.jpg\" alt=\"Bay Area Video Coalitions Next Gen video training participants (L to R): Joseph Morales, Evonnie Contreras, Nicole Wisler, Jessie Skeva, Alem Mesfin, Omar Estanislao, Omri Walker, and Nicole Rivera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Video Coalitions Next Gen video training participants (L to R): Joseph Morales, Evonnie Contreras, Nicole Wisler, Jessie Skeva, Alem Mesfin, Omar Estanislao, Omri Walker, and Nicole Rivera \u003ccite>( Photo: Sarah Gonzalez/BAVC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you really connect with the youth and provide the space for them,” Rivera said by phone from Washington, “a lot of vulnerability and a lot of strength comes out of that.”\u003c/p>\n\u003cp>Rivera, a freshman studying cinema and race and resistance at SF State, says she was “really shy,” before walking into BAVC. But since then, she’s done interviews and made videos about racial justice and female sexuality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The California Indian Museum and Cultural Center was started in 1996 in San Francisco “to culturally enrich and benefit the people of California and the general public,” according \u003ca href=\"http://cimcc.org/about-cimcc/about-us/\" target=\"_blank\" rel=\"noopener\">to its website\u003c/a>. The organization has resided in Santa Rosa since 2000. Accepting the award on behalf of the center will be Jayden Lim, 15, and Makela Yepez, 18, who are both \u003ca href=\"http://factcards.califa.org/cai/pomo.html\" target=\"_blank\" rel=\"noopener\">Pomo Indians\u003c/a>, according to Nicole Lim, the center’s executive director.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.nahyp.org/\" target=\"_blank\" rel=\"noopener\">National Arts and Humanities Youth Awards\u003c/a> honor outstanding after-school and out-of-school programs. A total of ten groups from around the nation will be honored at Tuesday’s event at the White House.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Tuesday, First Lady Michelle Obama will present National Arts and Humanities Youth Awards to Bay Area groups — \u003ca href=\"https://www.bavc.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Bay Area Video Coalition (BAVC)\u003c/a> and \u003ca href=\"http://cimcc.org/\" target=\"_blank\" rel=\"noopener\">Santa Rosa’s California Indian Museum and Cultural Center\u003c/a> — for their work with young people.\u003c/p>\n\u003cp>BAVC is celebrating its 40th year as a non-profit resource for Bay Area video makers, serving over 7,500 freelancers, filmmakers, and students each year.\u003c/p>\n\u003cp>Staffer Lauren Taylor and trainee Nicole Rivera will accept the award for BAVC. Rivera learned how to make short documentaries in BAVC’s Next Gen Program, which teaches media literacy to low income teens.\u003c/p>\n\u003cfigure id=\"attachment_12345497\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345497\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-800x533.jpg\" alt=\"Bay Area Video Coalitions Next Gen video training participants (L to R): Joseph Morales, Evonnie Contreras, Nicole Wisler, Jessie Skeva, Alem Mesfin, Omar Estanislao, Omri Walker, and Nicole Rivera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/bavc_next_gen_4.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Video Coalitions Next Gen video training participants (L to R): Joseph Morales, Evonnie Contreras, Nicole Wisler, Jessie Skeva, Alem Mesfin, Omar Estanislao, Omri Walker, and Nicole Rivera \u003ccite>( Photo: Sarah Gonzalez/BAVC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you really connect with the youth and provide the space for them,” Rivera said by phone from Washington, “a lot of vulnerability and a lot of strength comes out of that.”\u003c/p>\n\u003cp>Rivera, a freshman studying cinema and race and resistance at SF State, says she was “really shy,” before walking into BAVC. But since then, she’s done interviews and made videos about racial justice and female sexuality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The California Indian Museum and Cultural Center was started in 1996 in San Francisco “to culturally enrich and benefit the people of California and the general public,” according \u003ca href=\"http://cimcc.org/about-cimcc/about-us/\" target=\"_blank\" rel=\"noopener\">to its website\u003c/a>. The organization has resided in Santa Rosa since 2000. Accepting the award on behalf of the center will be Jayden Lim, 15, and Makela Yepez, 18, who are both \u003ca href=\"http://factcards.califa.org/cai/pomo.html\" target=\"_blank\" rel=\"noopener\">Pomo Indians\u003c/a>, according to Nicole Lim, the center’s executive director.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"http://www.nahyp.org/\" target=\"_blank\" rel=\"noopener\">National Arts and Humanities Youth Awards\u003c/a> honor outstanding after-school and out-of-school programs. A total of ten groups from around the nation will be honored at Tuesday’s event at the White House.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37dw2r45Xzg\u003c/p>\n\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\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/37dw2r45Xzg'\n title='//www.youtube.com/embed/37dw2r45Xzg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Friday, Nov. 18–Sunday, Nov. 20: \u003cem>/peh-LO-tah/\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nBay Area writer, performer and educator Marc Bamuthi Joseph presents a new dance-theater piece that draws on his experiences as a young Haitian immigrant obsessed with soccer as well as his travels in more recent years to South Africa, Brazil and Haiti. Through hip-hop–infused movement, spoken-word poetry and live music, Joseph and his fellow cast members explore the way in which the sport, a global phenomenon, influences politics, culture and racial identity — for better and for worse. The YBCA run kicks off a national tour, including a stop at the Kennedy Center in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_12282386\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-1020x561.jpg\" alt=\"Marc Bamuthi Joseph in 'peh-LO-tah', a dance-theater piece about soccer and politics at YBCA.\" width=\"640\" height=\"352\" class=\"size-large wp-image-12282386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823.jpg 1194w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph in ‘peh-LO-tah’, a dance-theater piece about soccer and politics at YBCA. \u003ccite>(Photo: Jon Lowenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Sunday, Nov. 13: Sandra Antongiorgi at Movimiento de Arte e Cultura Latino Americana (MACLA), San Jose\u003c/strong>\u003cbr>\nSan Jose’s main hub for Latino arts and culture presents a series of concerts by the Puerto Rican-born, Latin-neo-soul singer Sandra Antongiorgi. Writing songs about such themes as love, her Puerto Rican heritage, peace and healing, and possessed of a warm, sultry voice, Antongiorgi has been wowing audiences across the country with music that weaves together traditional Caribbean, soul, R&B, rumba and gitano music influences. Antongiorgi is also a captivating visual artist, whose enormous, colorful murals can be seen in public spaces in her hometown of Chicago and beyond. She’s joined on stage in San Jose by Puerto Rico-born, Oakland-based celtic harpist and singer María José Montijo.\u003c/p>\n\u003cfigure id=\"attachment_12282205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12282205\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-800x483.jpg\" alt=\"The Chicago-based singer Sandra Antongiorgi, who's performing concerts at MACLA in San Jose Nov. 11-13.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-960x579.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-520x314.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225.jpg 988w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chicago-based singer Sandra Antongiorgi, who’s performing concerts at MACLA in San Jose Nov. 11–13. \u003ccite>(Photo: Rob Gaczol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 12 and Sunday, Nov. 13: \u003cem>San Francisco Veteran’s Film Festival\u003c/em> at the San Francisco Public Library’s Main Branch, San Francisco\u003c/strong>\u003cbr>\nThe fifth edition of this annual festival is devoted to narrative and documentary films exploring the topic of war. Highlights include Susan Sipprelle’s documentary feature \u003cem>Soldier On: Life After Deployment\u003c/em>, in which three women confront the challenge of readjusting to civilian life after their post-9/11 military service; and \u003cem>Tango on the Balcony\u003c/em>, a fictional short by by Minos Papas exploring Iraqi war veteran John Wexler’s struggle to overcome the symptoms of post traumatic stress disorder (PTSD) and his transition to civilian life. Saturday’s evening reception includes an after-hours tour of the San Francisco Arts Commission ‘s current exhibition, \u003cem>Not Alone: Exploring Bonds Between and With Members of the Armed Forces.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12282357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12282357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-800x448.jpg\" alt=\"Aristotle Stamap stars in ‘Tango on the Balcony’ by Minos Papas, one of the films featured in this year’s San Francisco Veterans Film Festival\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130.jpg 1820w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aristotle Stamap stars in ‘Tango on the Balcony’ by Minos Papas, one of the films featured in this year’s San Francisco Veterans Film Festival. \u003ccite>(Photo: Courtesy of San Francisco Veterans Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Sunday, Dec. 18: Kinetic Arts Productions presents \u003cem>Inversion: Circus Disobedience\u003c/em> at Kinetic Arts Center, Oakland\u003c/strong>\u003cbr>\nUnlike many other physical circus companies whose main aim is to inspire audiences with feats of physical derring-do — whether that be teetering about on a high-wire or juggling flaming clubs — Oakland’s Kinetic Arts is interested in creating circus that tickles the intellect as much as it inspires awe. Following their 2015 eco-themed show \u003cem>Salvage\u003c/em>, the politically-minded circus arts troupe presents a new show about civil disobedience and social justice. The company employs an array of circus skills in this effort, including static trapeze, aerial ropes and tissue (also known as silks), contortion, aerial pole, and acrobatics.\u003c/p>\n\u003cfigure id=\"attachment_12287319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12287319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-800x452.jpg\" alt=\"A scene from Kinetic Arts Productions' 'Inversion'\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800.jpg 1527w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Kinetic Arts Productions’ ‘Inversion’ \u003ccite>(Photo: ShootThatKlown.com (Eric Gillet))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "KQED Newsroom host Thuy Vu and KQED Arts' senior editor Chloe Veltman discuss the latest local arts news headlines and look at upcoming cultural happenings around the Bay Area. ",
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"title": "VIDEO: Civil Disobedience Circus, Soccer Hip-Hop Theater and More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Friday, Nov. 18–Sunday, Nov. 20: \u003cem>/peh-LO-tah/\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nBay Area writer, performer and educator Marc Bamuthi Joseph presents a new dance-theater piece that draws on his experiences as a young Haitian immigrant obsessed with soccer as well as his travels in more recent years to South Africa, Brazil and Haiti. Through hip-hop–infused movement, spoken-word poetry and live music, Joseph and his fellow cast members explore the way in which the sport, a global phenomenon, influences politics, culture and racial identity — for better and for worse. The YBCA run kicks off a national tour, including a stop at the Kennedy Center in Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_12282386\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-1020x561.jpg\" alt=\"Marc Bamuthi Joseph in 'peh-LO-tah', a dance-theater piece about soccer and politics at YBCA.\" width=\"640\" height=\"352\" class=\"size-large wp-image-12282386\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-1020x561.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-160x88.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-800x440.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-768x423.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-1180x649.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-960x528.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-240x132.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-375x206.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823-520x286.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Marc-Bamuthi-Joseph_pehLOtah_-0682_c-Jon-Lowenstein_NOOR-e1477946520823.jpg 1194w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph in ‘peh-LO-tah’, a dance-theater piece about soccer and politics at YBCA. \u003ccite>(Photo: Jon Lowenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Sunday, Nov. 13: Sandra Antongiorgi at Movimiento de Arte e Cultura Latino Americana (MACLA), San Jose\u003c/strong>\u003cbr>\nSan Jose’s main hub for Latino arts and culture presents a series of concerts by the Puerto Rican-born, Latin-neo-soul singer Sandra Antongiorgi. Writing songs about such themes as love, her Puerto Rican heritage, peace and healing, and possessed of a warm, sultry voice, Antongiorgi has been wowing audiences across the country with music that weaves together traditional Caribbean, soul, R&B, rumba and gitano music influences. Antongiorgi is also a captivating visual artist, whose enormous, colorful murals can be seen in public spaces in her hometown of Chicago and beyond. She’s joined on stage in San Jose by Puerto Rico-born, Oakland-based celtic harpist and singer María José Montijo.\u003c/p>\n\u003cfigure id=\"attachment_12282205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12282205\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-800x483.jpg\" alt=\"The Chicago-based singer Sandra Antongiorgi, who's performing concerts at MACLA in San Jose Nov. 11-13.\" width=\"800\" height=\"483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-800x483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-960x579.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225-520x314.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Sandra-antongiorgi-by-Rob-Gaczol-e1477945172225.jpg 988w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chicago-based singer Sandra Antongiorgi, who’s performing concerts at MACLA in San Jose Nov. 11–13. \u003ccite>(Photo: Rob Gaczol)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Nov. 12 and Sunday, Nov. 13: \u003cem>San Francisco Veteran’s Film Festival\u003c/em> at the San Francisco Public Library’s Main Branch, San Francisco\u003c/strong>\u003cbr>\nThe fifth edition of this annual festival is devoted to narrative and documentary films exploring the topic of war. Highlights include Susan Sipprelle’s documentary feature \u003cem>Soldier On: Life After Deployment\u003c/em>, in which three women confront the challenge of readjusting to civilian life after their post-9/11 military service; and \u003cem>Tango on the Balcony\u003c/em>, a fictional short by by Minos Papas exploring Iraqi war veteran John Wexler’s struggle to overcome the symptoms of post traumatic stress disorder (PTSD) and his transition to civilian life. Saturday’s evening reception includes an after-hours tour of the San Francisco Arts Commission ‘s current exhibition, \u003cem>Not Alone: Exploring Bonds Between and With Members of the Armed Forces.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_12282357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12282357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-800x448.jpg\" alt=\"Aristotle Stamap stars in ‘Tango on the Balcony’ by Minos Papas, one of the films featured in this year’s San Francisco Veterans Film Festival\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Aristotle-Stamap-staring-in-Tango-on-the-Balcony-by-Minos-Papas-e1477945503130.jpg 1820w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aristotle Stamap stars in ‘Tango on the Balcony’ by Minos Papas, one of the films featured in this year’s San Francisco Veterans Film Festival. \u003ccite>(Photo: Courtesy of San Francisco Veterans Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Sunday, Dec. 18: Kinetic Arts Productions presents \u003cem>Inversion: Circus Disobedience\u003c/em> at Kinetic Arts Center, Oakland\u003c/strong>\u003cbr>\nUnlike many other physical circus companies whose main aim is to inspire audiences with feats of physical derring-do — whether that be teetering about on a high-wire or juggling flaming clubs — Oakland’s Kinetic Arts is interested in creating circus that tickles the intellect as much as it inspires awe. Following their 2015 eco-themed show \u003cem>Salvage\u003c/em>, the politically-minded circus arts troupe presents a new show about civil disobedience and social justice. The company employs an array of circus skills in this effort, including static trapeze, aerial ropes and tissue (also known as silks), contortion, aerial pole, and acrobatics.\u003c/p>\n\u003cfigure id=\"attachment_12287319\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12287319\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-800x452.jpg\" alt=\"A scene from Kinetic Arts Productions' 'Inversion'\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/7495df_8f8ff03ab26d4357960e1e12b866e629-mv2-1-e1478045348800.jpg 1527w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Kinetic Arts Productions’ ‘Inversion’ \u003ccite>(Photo: ShootThatKlown.com (Eric Gillet))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Gwen Ifill, one of the most prominent political journalists in the country, has died, according to PBS. She was 61.\u003c/p>\n\u003cp>When she took the helm of \u003cem>Washington Week in Review \u003c/em>in 1999, Ifill became the first African-American woman to host a major political TV talk show. Ifill covered seven presidential campaigns and moderated the vice presidential debates in 2004 and 2008. More recently, she moderated a presidential primary debate between Hillary Clinton and Bernie Sanders. Ifill was also the best-selling author of \u003cem>The Breakthrough: Politics and Race in the Age of Obama\u003c/em>.\u003c/p>\n\u003cp>In 2013, Ifill was named co-host of the \u003cem>PBS NewsHour.\u003c/em> \u003ca href=\"http://www.nytimes.com/2013/08/07/business/media/gwen-ifill-and-judy-woodruff-to-co-anchor-newshour.html?_r=0\">In an interview with the New York Times\u003c/a>, she reflected on what her appointment could mean to a new generation.\u003c/p>\n\u003cp>“When I was a little girl watching programs like this — because that’s the kind of nerdy family we were — I would look up and not see anyone who looked like me in any way. No women. No people of color,” she said. “I’m very keen about the fact that a little girl now, watching the news, when they see me and Judy [Woodruff] sitting side by side, it will occur to them that that’s perfectly normal — that it won’t seem like any big breakthrough at all.”\u003c/p>\n\u003cp>Paula Kerger, president and CEO of PBS, said Ifill was “a fundamental reason public media is considered a trusted window on the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Her contributions to thoughtful reporting and civic discourse simply cannot be overstated,” Kerger said. “She often said that her job was to bring light rather than heat to issues of importance to our society. Gwen did this with grace and steadfast commitment to excellence.”\u003c/p>\n\u003cfigure id=\"attachment_11174092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11174092\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/IfilPreps-800x518.jpg\" alt=\"Gerald Seib (L) and Gwen Ifill go over the news before filming ABC's This Week at the Newseum in Washington, D.C., in December 2008.\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gerald Seib (L) and Gwen Ifill go over the news before filming ABC’s ‘This Week at the Newseum’ in Washington, D.C., in December 2008. \u003ccite>(Kevin Clark/The Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a news conference, President Obama said he appreciated Ifill’s reporting even when she posed tough questions to him.\u003c/p>\n\u003cp>“She always kept faith with the fundamental responsibility of her profession, asking tough questions, holding people in power accountable and defending a strong and free press that makes our democracy work,” Obama said.\u003c/p>\n\u003cp>Journalist Ray Suarez, who began working at \u003cem>NewsHour\u003c/em> on the same day as Ifill in 1999, told \u003cem>Here & Now\u003c/em> that Ifill was a mix of things.\u003c/p>\n\u003cp>“She was evenhanded yet tenacious,” Suarez said. “She was exteriorly cool, if that’s even a word, but at the same time very emotionally and passionately committed to the work she did.”\u003c/p>\n\u003cp>Ifill was a preacher’s daughter. She was born in New York City to a Panamanian immigrant dad and a Barbadian mother. She started her journalism career as a print reporter for the \u003cem>Baltimore Evening Sun\u003c/em> and the \u003cem>Boston Herald American\u003c/em>. She went on to become a national political reporter for \u003cem>the Washington Post\u003c/em> and the White House correspondent for \u003cem>the New York Times.\u003c/em>\u003c/p>\n\u003cp>Ifill died after a battle with cancer.\u003c/p>\n\u003cp>\u003cem>NPR’s Neda Ulaby contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gwen Ifill, one of the most prominent political journalists in the country, has died, according to PBS. She was 61.\u003c/p>\n\u003cp>When she took the helm of \u003cem>Washington Week in Review \u003c/em>in 1999, Ifill became the first African-American woman to host a major political TV talk show. Ifill covered seven presidential campaigns and moderated the vice presidential debates in 2004 and 2008. More recently, she moderated a presidential primary debate between Hillary Clinton and Bernie Sanders. Ifill was also the best-selling author of \u003cem>The Breakthrough: Politics and Race in the Age of Obama\u003c/em>.\u003c/p>\n\u003cp>In 2013, Ifill was named co-host of the \u003cem>PBS NewsHour.\u003c/em> \u003ca href=\"http://www.nytimes.com/2013/08/07/business/media/gwen-ifill-and-judy-woodruff-to-co-anchor-newshour.html?_r=0\">In an interview with the New York Times\u003c/a>, she reflected on what her appointment could mean to a new generation.\u003c/p>\n\u003cp>“When I was a little girl watching programs like this — because that’s the kind of nerdy family we were — I would look up and not see anyone who looked like me in any way. No women. No people of color,” she said. “I’m very keen about the fact that a little girl now, watching the news, when they see me and Judy [Woodruff] sitting side by side, it will occur to them that that’s perfectly normal — that it won’t seem like any big breakthrough at all.”\u003c/p>\n\u003cp>Paula Kerger, president and CEO of PBS, said Ifill was “a fundamental reason public media is considered a trusted window on the world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Her contributions to thoughtful reporting and civic discourse simply cannot be overstated,” Kerger said. “She often said that her job was to bring light rather than heat to issues of importance to our society. Gwen did this with grace and steadfast commitment to excellence.”\u003c/p>\n\u003cfigure id=\"attachment_11174092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11174092\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/IfilPreps-800x518.jpg\" alt=\"Gerald Seib (L) and Gwen Ifill go over the news before filming ABC's This Week at the Newseum in Washington, D.C., in December 2008.\" width=\"800\" height=\"518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-960x622.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/11/IfilPreps-520x337.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gerald Seib (L) and Gwen Ifill go over the news before filming ABC’s ‘This Week at the Newseum’ in Washington, D.C., in December 2008. \u003ccite>(Kevin Clark/The Washington Post/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a news conference, President Obama said he appreciated Ifill’s reporting even when she posed tough questions to him.\u003c/p>\n\u003cp>“She always kept faith with the fundamental responsibility of her profession, asking tough questions, holding people in power accountable and defending a strong and free press that makes our democracy work,” Obama said.\u003c/p>\n\u003cp>Journalist Ray Suarez, who began working at \u003cem>NewsHour\u003c/em> on the same day as Ifill in 1999, told \u003cem>Here & Now\u003c/em> that Ifill was a mix of things.\u003c/p>\n\u003cp>“She was evenhanded yet tenacious,” Suarez said. “She was exteriorly cool, if that’s even a word, but at the same time very emotionally and passionately committed to the work she did.”\u003c/p>\n\u003cp>Ifill was a preacher’s daughter. She was born in New York City to a Panamanian immigrant dad and a Barbadian mother. She started her journalism career as a print reporter for the \u003cem>Baltimore Evening Sun\u003c/em> and the \u003cem>Boston Herald American\u003c/em>. She went on to become a national political reporter for \u003cem>the Washington Post\u003c/em> and the White House correspondent for \u003cem>the New York Times.\u003c/em>\u003c/p>\n\u003cp>Ifill died after a battle with cancer.\u003c/p>\n\u003cp>\u003cem>NPR’s Neda Ulaby contributed to this report. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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