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"content": "\u003cp>A diplomatic push for the return of Native American ceremonial objects from auction houses in Paris has been hampered by loopholes in U.S. laws that authorities and lawmakers say prohibit the trafficking of the federally protected items domestically but don’t explicitly ban dealers from exporting them to foreign markets.\u003c/p>\n\u003cp>The comments from U.S. Sens. Tom Udall and Martin Heinrich, both New Mexico Democrats, came Tuesday before a field hearing in Albuquerque, where tribal leaders and representatives of several federal agencies — including the U.S. State, Interior and Justice departments — testified that a growing international market for ceremonial objects that include masks and shields has made it difficult for tribes to track and repatriate stolen items.\u003c/p>\n\u003cp>“They are not pieces of art. They are spiritual objects deeply important for tribal identity,” Udall said. “Theft not only robs the tribes of a sacred object, it robs them of a piece of their spiritual identity.”\u003c/p>\n\u003cp>French officials have told the Obama administration that they often are unable to intervene in numerous auction house sales of the items at the request of the United States because American laws fall short of making it a crime to send the objects overseas, the senators said.\u003c/p>\n\u003cp>Both are co-sponsors of legislation that would prohibit dealers from exporting the federally protected tribal items and double the prison time to 10 years for violating a statute that criminalizes stealing or unlawfully removing tribal objects from reservations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A U.S. State Department official said French and American authorities will meet at the end of the month to discuss the issue.\u003c/p>\n\u003cp>“We have a very close partnership with the French,” Mark Taplin, a principal deputy assistant secretary within the U.S. Department of State who testified at the field hearing told The Associated Press. “This is one of the relatively few areas where we need to work on finding an agreement.”\u003c/p>\n\u003cp>The Paris auctions have presented a diplomatic dilemma for years between the United States and France. The upcoming bilateral talks between the two countries, and the proposed legislation come as Acoma Pueblo in western New Mexico awaits word on whether a ceremonial shield that was set for auction in May will be returned.\u003c/p>\n\u003cp>EVE auction house in Paris halted the planned sale of the shield after facing immense pressure from top U.S. officials — including Interior Secretary Sally Jewell — and pueblo leaders, who produced an affidavit alleging the shield had been taken during a break-in from an elder’s Acoma Pueblo home.\u003c/p>\n\u003cp>The centuries-old village sits atop a mesa west of Albuquerque.\u003c/p>\n\u003cp>Heinrich’s bill has been met with criticism from collectors who question how U.S. authorities will determine which tribal objects represent sacred ceremonial items. Gregory Schaaf, a historian and retired Native American Studies professor, testified that more criminal penalties for the trafficking of Native American objects may lead some collectors to dispose of the items rather than return them to tribes, even though the proposed legislation allows for an amnesty period for collectors to return federally protect items.\u003c/p>\n\u003cp>“In order to make these sacred objects come home, you have to think from the perspective of other people from other cultures,” he told tribal leaders during the hearing. “You have to think from the perspective of the collector themselves.”\u003c/p>\n\u003cp>He presented leaders from Isleta and Acoma pueblos and the Navajo Nation with sealed boxes that he said contained objects considered sacred by each of the tribes.\u003c/p>\n\u003cp>Tribal officials expressed offense at the move, saying the hearing was not the time or place for returning sacred items. They did not confirm whether the boxes, in fact, contained sacred items before a Bureau of Indian Affairs agent collected them, saying they were “evidence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We practice our culture and use these items,” said Gov. Kurt Riley of Acoma Pueblo. “For someone else to tell us what is sacred and what is not, is inappropriate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A U.S. State Department official said French and American authorities will meet at the end of the month to discuss the issue.\u003c/p>\n\u003cp>“We have a very close partnership with the French,” Mark Taplin, a principal deputy assistant secretary within the U.S. Department of State who testified at the field hearing told The Associated Press. “This is one of the relatively few areas where we need to work on finding an agreement.”\u003c/p>\n\u003cp>The Paris auctions have presented a diplomatic dilemma for years between the United States and France. The upcoming bilateral talks between the two countries, and the proposed legislation come as Acoma Pueblo in western New Mexico awaits word on whether a ceremonial shield that was set for auction in May will be returned.\u003c/p>\n\u003cp>EVE auction house in Paris halted the planned sale of the shield after facing immense pressure from top U.S. officials — including Interior Secretary Sally Jewell — and pueblo leaders, who produced an affidavit alleging the shield had been taken during a break-in from an elder’s Acoma Pueblo home.\u003c/p>\n\u003cp>The centuries-old village sits atop a mesa west of Albuquerque.\u003c/p>\n\u003cp>Heinrich’s bill has been met with criticism from collectors who question how U.S. authorities will determine which tribal objects represent sacred ceremonial items. Gregory Schaaf, a historian and retired Native American Studies professor, testified that more criminal penalties for the trafficking of Native American objects may lead some collectors to dispose of the items rather than return them to tribes, even though the proposed legislation allows for an amnesty period for collectors to return federally protect items.\u003c/p>\n\u003cp>“In order to make these sacred objects come home, you have to think from the perspective of other people from other cultures,” he told tribal leaders during the hearing. “You have to think from the perspective of the collector themselves.”\u003c/p>\n\u003cp>He presented leaders from Isleta and Acoma pueblos and the Navajo Nation with sealed boxes that he said contained objects considered sacred by each of the tribes.\u003c/p>\n\u003cp>Tribal officials expressed offense at the move, saying the hearing was not the time or place for returning sacred items. They did not confirm whether the boxes, in fact, contained sacred items before a Bureau of Indian Affairs agent collected them, saying they were “evidence.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We practice our culture and use these items,” said Gov. Kurt Riley of Acoma Pueblo. “For someone else to tell us what is sacred and what is not, is inappropriate.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Harry Shearer announced Tuesday that he has sued a French film studio over tens of millions in dollars in profits he claims he and his co-creators are owed for creating the classic mockumentary \u003cem>This Is Spinal Tap\u003c/em>.\u003c/p>\n\u003cp>Shearer’s lawsuit filed in a federal court in Los Angeles on Monday claims the French company Vivendi S.A. and its subsidiary StudioCanal withheld profits from the film, its music and its merchandise.\u003c/p>\n\u003cp>Shearer released a two-minute video on Twitter announcing the lawsuit, urging people to share it with the hashtag #fairnessrocks.\u003c/p>\n\u003cp>https://twitter.com/theharryshearer/status/788457673108979712\u003c/p>\n\u003cp>Shearer co-created the satire about a British rock band on the decline, which has been featured on numerous top movie lists of all time since its 1984 release. \u003cem>This Is Spinal Tap\u003c/em> was made for $2.25 million, the lawsuit said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lawsuit seeks $125 million from Vivendi but did not give a breakdown of how much that amount represents in profits Vivendi received and how much Shearer says he is entitled to in additional damages.\u003c/p>\n\u003cp>The film earned $4.5 million in theaters when it was released, and its re-release earned $193,000, according to figures from box office analysis firm comScore.\u003c/p>\n\u003cp>Those figures do not take into account money the film earned on the home video market, which would include VHS tapes, DVDs, Blu-Ray and its airings on television and cable.\u003c/p>\n\u003cp>Vivendi told Shearer and his co-creators that their share of merchandise between the 1984 release of the film and 2013 was $81, the lawsuit stated.\u003c/p>\n\u003cp>The company said their share of profits on music on songs such as “Sex Farm” and “Stonehenge” was $98, according to the lawsuit, which also said Vivendi has not provided accounting for the film’s profits since 2013.\u003c/p>\n\u003cp>The band included Shearer, Christopher Guest and Michael McKean, who were later joined by actor-director Rob Reiner to create the film and its music. Guest, McKean and Reiner are not plaintiffs in the lawsuit filed by Shearer’s company, Century of Progress Productions.\u003c/p>\n\u003cp>Vivendi in an emailed statement declined comment on the lawsuit.\u003c/p>\n\u003cp>A jury would determine the amount of any damages awarded to Shearer’s company. He is also asking a judge to award him trademarks to the band name Spinal Tap and his character’s name, Derek Smalls.\u003c/p>\n\u003cp>If awarded the trademarks, Shearer could use the names to sell Spinal Tap-related merchandise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The comedian also voices several characters on the long-running Fox animated series \u003cem>The Simpsons\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pearl Jam, Tupac Shakur Nominated for Rock & Roll Hall of Fame",
"headTitle": "Pearl Jam, Tupac Shakur Nominated for Rock & Roll Hall of Fame | KQED",
"content": "\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \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=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After much criticism around last year’s round of ’70s rockers and no women, the Rock & Roll Hall of Fame announced its nominees for the class of 2017 Tuesday morning, which include first-time nominees \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15664595/pearl-jam\">Pearl Jam\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15397821/bad-brains\" target=\"_blank\" rel=\"noopener\">Bad Brains\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15199189/joan-baez\" target=\"_blank\" rel=\"noopener\">Joan Baez\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener\">Depeche Mode\u003c/a>. Shakur, who died 20 years ago and has been the focus of \u003ca href=\"http://www.npr.org/2016/09/13/493671606/tupac-shakurs-legacy-20-years-on\" target=\"_blank\" rel=\"noopener\">many\u003c/a> \u003ca href=\"http://www.npr.org/2016/09/11/493176227/tough-love-kwame-alexander-remembers-tupac\" target=\"_blank\" rel=\"noopener\">legacy\u003c/a> \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/09/14/493014365/realizing-tupac-wasnt-cool-20-years-later\" target=\"_blank\" rel=\"noopener\">pieces\u003c/a> in recent months, was nominated in his first year of eligibility and would be the sixth hip-hop artist to be admitted to the hall. Like Shakur, Pearl Jam is also in its first year of eligibility, and if \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s (2014) and \u003ca href=\"http://www.npr.org/artists/15283543/green-day\" target=\"_blank\" rel=\"noopener\">Green Day\u003c/a>‘s (2015) swift inductions were any indication, the long-running and still very active Seattle band seems like a sure bet as well.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15817903/janet-jackson\" target=\"_blank\" rel=\"noopener\">Janet Jackson\u003c/a>, The Cars, \u003ca href=\"http://www.npr.org/artists/158576917/the-zombies\" target=\"_blank\" rel=\"noopener\">The Zombies\u003c/a>, \u003ca href=\"http://www.npr.org/artists/124958625/mc5\" target=\"_blank\" rel=\"noopener\">MC5\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15322004/chaka-khan\">Chaka Khan\u003c/a> are all on their second nods, and Chic — whose co-founder and lead guitarist Niles Rodgers continues to be an in-demand producer for the likes of \u003ca href=\"http://www.npr.org/artists/15414420/daft-punk\">Daft Punk\u003c/a>, \u003ca href=\"http://www.npr.org/artists/384927706/sam-smith\">Sam Smith\u003c/a>, \u003ca href=\"http://www.npr.org/artists/120001078/lady-gaga\">Lady Gaga\u003c/a> and \u003ca href=\"http://www.npr.org/artists/184223571/laura-mvula\">Laura Mvula\u003c/a> — received its 11\u003csup>th\u003c/sup> nomination.\u003c/p>\n\u003cp>See the full list of nominees below:\u003c/p>\n\u003cul>\n\u003cli>Bad Brains*\u003c/li>\n\u003cli>Chaka Khan\u003c/li>\n\u003cli>Chic\u003c/li>\n\u003cli>Depeche Mode*\u003c/li>\n\u003cli>ELO*\u003c/li>\n\u003cli>The J. Geils Band\u003c/li>\n\u003cli>Jane’s Addicition*\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Joan Baez*\u003c/li>\n\u003cli>Joe Tex\u003c/li>\n\u003cli>Journey*\u003c/li>\n\u003cli>Kraftwerk\u003c/li>\n\u003cli>MC5\u003c/li>\n\u003cli>Pearl Jam*\u003c/li>\n\u003cli>Steppenwolf*\u003c/li>\n\u003cli>The Cars\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003cli>Tupac Shakur*\u003c/li>\n\u003cli>Yes\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem> *First-time nominees.\u003c/em> \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=Pearl+Jam%2C+Tupac+Shakur+Nominated+For+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>James Blake fans who were disappointed that the weather forced the cancellation of his set at the Treasure Island Music Festival (TIMF) will be happy to learn that they have the opportunity to see the perpetually-forlorn British songwriter tonight in Oakland, for free.\u003c/p>\n\u003cp>Gale force winds kept Blake from taking the stage Sunday, but he promised on Twitter to make it up to the TIMF attendees looking forward to hearing his sorrowful songs live. \u003c/p>\n\u003cp>https://twitter.com/jamesblake/status/787859171295191040\u003c/p>\n\u003cp>Well, Blake and Another Planet Entertainment have made good on their promises, setting up a last minute concert at the Fox Theater in downtown Oakland. Admission is free for TIMF ticket holders and $25 for everyone else.\u003c/p>\n\u003cp>That should make this fan particularly happy:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/ana_tevzadze/status/787860095736483840\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For tickets and more information, visit the \u003ca href=\"http://www.apeconcerts.com/events/james-blake/\" target=\"_blank\" rel=\"noopener\">Another Planet website\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Tower\u003c/em> is an animated documentary that tells the story of a massacre that happened 50 years ago and was a historic first: A man with no record of violence shot at people at random for no logical reason.\u003c/p>\n\u003cp>It was Aug. 1, 1966, in the middle of a 100-degree day at the University of Texas at Austin. The shots came from the clock tower at the center of the campus. A woman eight months pregnant was the first to fall, soon to be followed by her boyfriend and a boy delivering newspapers on his bicycle. It’s not the usual subject for a cartoon.\u003c/p>\n\u003cp>The animation is rotoscoped, meaning laid over real actors who went through the paces. Those actors also narrate, their words taken directly from transcripts or interviews with the real people conducted by the director, Keith Maitland.\u003c/p>\n\u003cp>Sometimes Maitland cuts to actual footage from that day. Sometimes he puts animated figures in the foreground against grainy, black-and-white news coverage.\u003c/p>\n\u003cp>The effect is extraordinary. Rather than distancing us, the animation brings us closer, as news footage or talking heads alone never could. It puts what’s happening in the present tense. The rifle cracks seem to slice through you — and Maitland cuts to negative images, strobe-like, as the victims fall to the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sheer beauty of the animation also makes \u003cem>Tower\u003c/em> surreal and drenched in emotion. The soundscape is layered, a collage of traffic noise, real radio and TV broadcasts, and the sound of Top 40 hits like “(What a Day For a) Daydream” over tinny AM radios.\u003c/p>\n\u003cp>At no point do we see the shooter or hear his name — well, it’s uttered once, at the end, by Walter Cronkite in a broadcast. What’s hard for us to imagine is that the people on the University of Texas campus that day had no context for this event, nothing to compare it to.\u003c/p>\n\u003cp>The event is decentralized, seen from multiple incomplete perspectives: people who were shot; policemen and civilians who risked their lives to climb the tower; and even a woman who said she knew while she was watching there was a “moment that separate[d] the brave people from the scared people. I realized,” she says, “that I was a coward.”\u003c/p>\n\u003cp>The most wrenching figure is the pregnant woman, Claire, who lies on the plaza, the concrete, she tells us, in her narration, burning the backs of her thighs, her blood leaking out. People watch helplessly, afraid at first to enter the plaza to help.\u003c/p>\n\u003cp>The word you sometimes hear about films like \u003cem>Tower\u003c/em> from documentary purists is “over-aestheticized,” which means they think it’s false to the reality, manipulative. Director Keith Maitland sometimes does go too far: I could have done without the psychedelic love montage when Claire speaks of her dead boyfriend, even though it’s true to her feelings. But I love when nonfiction filmmakers stretch the form, giving us animated docs as powerful as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=98689131\">Waltz with Bashir\u003c/a>, \u003cem>Persepolis\u003c/em> and, now, \u003cem>Tower\u003c/em>.\u003c/p>\n\u003cp>We’re on such intimate terms with Maitland’s subjects that when the faces of the real, aged people burn in over their younger animated counterparts, the effect is unspeakably moving. This was well before we understood such things as \u003ca href=\"http://www.npr.org/tags/143046636/post-traumatic-stress-disorder\">post-traumatic stress disorder\u003c/a>, and many survivors have never wanted to talk about what happened. Some are baring their feelings only now, for this film.\u003c/p>\n\u003cp>I was on the documentary jury that gave \u003cem>Tower\u003c/em> its top prize at this year’s South by Southwest Film Festival in Austin. When it premiered, there was a section in the film about other gun massacres and a pointed digression about the need for gun control. That’s largely gone now, trimmed down to brief images of Columbine and Aurora and other sites of carnage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, some people might even see \u003cem>Tower\u003c/em> in its present form as an example of what happens when not \u003cem>enough\u003c/em> people are armed. Maybe we’ll know who’s right soon enough. On the 50th anniversary of the Austin shooting — Aug. 1, 2016 — it became legal for students at the University of Texas to carry guns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Documentary+Offers+A+Wrenching+Look+At+America%27s+First+Modern+Gun+Massacre+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sheer beauty of the animation also makes \u003cem>Tower\u003c/em> surreal and drenched in emotion. The soundscape is layered, a collage of traffic noise, real radio and TV broadcasts, and the sound of Top 40 hits like “(What a Day For a) Daydream” over tinny AM radios.\u003c/p>\n\u003cp>At no point do we see the shooter or hear his name — well, it’s uttered once, at the end, by Walter Cronkite in a broadcast. What’s hard for us to imagine is that the people on the University of Texas campus that day had no context for this event, nothing to compare it to.\u003c/p>\n\u003cp>The event is decentralized, seen from multiple incomplete perspectives: people who were shot; policemen and civilians who risked their lives to climb the tower; and even a woman who said she knew while she was watching there was a “moment that separate[d] the brave people from the scared people. I realized,” she says, “that I was a coward.”\u003c/p>\n\u003cp>The most wrenching figure is the pregnant woman, Claire, who lies on the plaza, the concrete, she tells us, in her narration, burning the backs of her thighs, her blood leaking out. People watch helplessly, afraid at first to enter the plaza to help.\u003c/p>\n\u003cp>The word you sometimes hear about films like \u003cem>Tower\u003c/em> from documentary purists is “over-aestheticized,” which means they think it’s false to the reality, manipulative. Director Keith Maitland sometimes does go too far: I could have done without the psychedelic love montage when Claire speaks of her dead boyfriend, even though it’s true to her feelings. But I love when nonfiction filmmakers stretch the form, giving us animated docs as powerful as \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=98689131\">Waltz with Bashir\u003c/a>, \u003cem>Persepolis\u003c/em> and, now, \u003cem>Tower\u003c/em>.\u003c/p>\n\u003cp>We’re on such intimate terms with Maitland’s subjects that when the faces of the real, aged people burn in over their younger animated counterparts, the effect is unspeakably moving. This was well before we understood such things as \u003ca href=\"http://www.npr.org/tags/143046636/post-traumatic-stress-disorder\">post-traumatic stress disorder\u003c/a>, and many survivors have never wanted to talk about what happened. Some are baring their feelings only now, for this film.\u003c/p>\n\u003cp>I was on the documentary jury that gave \u003cem>Tower\u003c/em> its top prize at this year’s South by Southwest Film Festival in Austin. When it premiered, there was a section in the film about other gun massacres and a pointed digression about the need for gun control. That’s largely gone now, trimmed down to brief images of Columbine and Aurora and other sites of carnage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ironically, some people might even see \u003cem>Tower\u003c/em> in its present form as an example of what happens when not \u003cem>enough\u003c/em> people are armed. Maybe we’ll know who’s right soon enough. On the 50th anniversary of the Austin shooting — Aug. 1, 2016 — it became legal for students at the University of Texas to carry guns. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Documentary+Offers+A+Wrenching+Look+At+America%27s+First+Modern+Gun+Massacre+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Grammy-winning R&B singer Anthony Hamilton has sung the national anthem in the past. Don’t ask him to sing it in the near future.\u003c/p>\n\u003cp>Hamilton’s frustration with “The Star-Spangled Banner” is shared by some other black Americans, who feel like the tune sung before major U.S. events is not the best representation of all Americans.\u003c/p>\n\u003cp>That sentiment became part of the national conversation after the NFL’s Colin Kaepernick announced he would not stand for the anthem in protest of racial discrimination against blacks in the United States, particularly after a spate of police shootings of African Americans.\u003c/p>\n\u003cp>Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit, from the NFL to high school to other sports.\u003c/p>\n\u003cp>There are still plenty of singers singing the national anthem at major events. But Hamilton is among those who are reconsidering whether they’d do so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m gonna take a little time away from the anthem until it starts feeling like it’s for me,” said Hamilton, who is black. “We need a new song, one that really speaks for all of us, or bring some new life to the one that we have.”\u003c/p>\n\u003cp>Several musicians declined to be interviewed for this story. The anthem, one of the most popular songs in the country, has become a badge of honor for musicians when invited to sing it, and a well-received live performance of the song normally boosts an act’s career. Whitney Houston’s performance of the anthem at the Super Bowl is considered one of her greatest, and one of the best renditions of it.\u003c/p>\n\u003cp>Alicia Keys, who has performed the anthem at the Super Bowl and other events throughout her 15-year career, said she gets where the San Francisco 49er quarterback is coming from.\u003c/p>\n\u003cp>“I understand. I understand,” she said seriously in an interview.\u003c/p>\n\u003cp>Keys, who like Kaepernick is biracial, said that she learned new information about the anthem after the athlete’s protest sparked countless articles. A third verse that is rarely sung includes the lines, “No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave.”\u003c/p>\n\u003cp>Francis Scott Key, the song’s author, was a supporter of slavery.\u003c/p>\n\u003cp>“To actually read the facts, you know, I can understand it. It’s time for a lot of things to change. We know what this country was built off of and based off of, and it’s time for that to evolve. It’s time for the story to evolve,” she said.\u003c/p>\n\u003cp>“There’s some great things that have carried on for generations and generations and there’s some things that have to change, like that was an old way of thinking and now if we’re going to move toward really looking at each other in the same eyes and in the spirit of oneness, then we have to make changes from past mistakes.”\u003c/p>\n\u003cp>That third verse is also one reason why John Legend tweeted shortly after Kaepernick’s protest that he wasn’t a fan of the national anthem. While Legend has sung the anthem previously, he called the anthem “weak,” opting for “America the Beautiful” instead.\u003c/p>\n\u003cp>The NFL said teams arrange for their own anthems, and while some singers are second-guessing performing the song after Kaepernick’s protest, the organization said “no teams have identified this as an issue.” But on Monday at the Sacramento Kings preseason game, singer Leah Tysse, who is white, kneeled while performing the national anthem.\u003c/p>\n\u003cp>“I have sung the anthem before but this time taking a knee felt like the most patriotic thing I could do. I cannot idly stand by as black people are unlawfully profiled, harassed and killed by our law enforcement over and over and without a drop of accountability,” Tysse wrote on her Facebook page. “The sad reality is, as a white American I am bestowed a certain privilege in this nation that is not enjoyed by all people. Black families are having much different conversations with their children about how to interact with the police than white families. Let’s be honest. Until we can recognize that white privilege exists we cannot have a dialogue about race.”\u003c/p>\n\u003cp>The Kings Organization said in a statement they “respect the personal decision of Leah Tysse to exercise her freedom of speech.”\u003c/p>\n\u003cp>A Quinnipiac University poll released this week shows that most white Americans disapprove of protests by athletes during the national anthem while black Americans approve of the protests by an even larger margin.\u003c/p>\n\u003cp>Pop singer JoJo, who burst on the music scene at 13, said she’s still proud to sing the anthem because of the veterans in her family.\u003c/p>\n\u003cp>“When I sing the national anthem, I’m thinking of the veterans in my family, and I completely respect Colin’s stance to bring awareness to black people who are still facing injustice, and I really do respect it. But for me, I’m just, I enjoy singing the song,” said 25-year-old JoJo, who is white.\u003c/p>\n\u003cp>“Well this is what my mom said to me: ‘We’re all just trying to somehow make things right, so if we can come together as a country over that song, great. But at the end of the day, it’s easier said than done,'” she added.\u003c/p>\n\u003cp>Hamilton said he currently feels mixed emotions about being black in America in these racially charged times, and even sometimes feels betrayed.\u003c/p>\n\u003cp>“It feels like it’s a lie by the way they treat us,” Hamilton, 45, added of the anthem and how blacks are regarded in America. “Seems like the Constitution ain’t really constituting us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"headline": "After Kaepernick's Protest, Singers Question Anthem",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grammy-winning R&B singer Anthony Hamilton has sung the national anthem in the past. Don’t ask him to sing it in the near future.\u003c/p>\n\u003cp>Hamilton’s frustration with “The Star-Spangled Banner” is shared by some other black Americans, who feel like the tune sung before major U.S. events is not the best representation of all Americans.\u003c/p>\n\u003cp>That sentiment became part of the national conversation after the NFL’s Colin Kaepernick announced he would not stand for the anthem in protest of racial discrimination against blacks in the United States, particularly after a spate of police shootings of African Americans.\u003c/p>\n\u003cp>Since Kaepernick has decided to take a knee while the anthem plays at games, others have followed suit, from the NFL to high school to other sports.\u003c/p>\n\u003cp>There are still plenty of singers singing the national anthem at major events. But Hamilton is among those who are reconsidering whether they’d do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m gonna take a little time away from the anthem until it starts feeling like it’s for me,” said Hamilton, who is black. “We need a new song, one that really speaks for all of us, or bring some new life to the one that we have.”\u003c/p>\n\u003cp>Several musicians declined to be interviewed for this story. The anthem, one of the most popular songs in the country, has become a badge of honor for musicians when invited to sing it, and a well-received live performance of the song normally boosts an act’s career. Whitney Houston’s performance of the anthem at the Super Bowl is considered one of her greatest, and one of the best renditions of it.\u003c/p>\n\u003cp>Alicia Keys, who has performed the anthem at the Super Bowl and other events throughout her 15-year career, said she gets where the San Francisco 49er quarterback is coming from.\u003c/p>\n\u003cp>“I understand. I understand,” she said seriously in an interview.\u003c/p>\n\u003cp>Keys, who like Kaepernick is biracial, said that she learned new information about the anthem after the athlete’s protest sparked countless articles. A third verse that is rarely sung includes the lines, “No refuge could save the hireling and slave/From the terror of flight or the gloom of the grave.”\u003c/p>\n\u003cp>Francis Scott Key, the song’s author, was a supporter of slavery.\u003c/p>\n\u003cp>“To actually read the facts, you know, I can understand it. It’s time for a lot of things to change. We know what this country was built off of and based off of, and it’s time for that to evolve. It’s time for the story to evolve,” she said.\u003c/p>\n\u003cp>“There’s some great things that have carried on for generations and generations and there’s some things that have to change, like that was an old way of thinking and now if we’re going to move toward really looking at each other in the same eyes and in the spirit of oneness, then we have to make changes from past mistakes.”\u003c/p>\n\u003cp>That third verse is also one reason why John Legend tweeted shortly after Kaepernick’s protest that he wasn’t a fan of the national anthem. While Legend has sung the anthem previously, he called the anthem “weak,” opting for “America the Beautiful” instead.\u003c/p>\n\u003cp>The NFL said teams arrange for their own anthems, and while some singers are second-guessing performing the song after Kaepernick’s protest, the organization said “no teams have identified this as an issue.” But on Monday at the Sacramento Kings preseason game, singer Leah Tysse, who is white, kneeled while performing the national anthem.\u003c/p>\n\u003cp>“I have sung the anthem before but this time taking a knee felt like the most patriotic thing I could do. I cannot idly stand by as black people are unlawfully profiled, harassed and killed by our law enforcement over and over and without a drop of accountability,” Tysse wrote on her Facebook page. “The sad reality is, as a white American I am bestowed a certain privilege in this nation that is not enjoyed by all people. Black families are having much different conversations with their children about how to interact with the police than white families. Let’s be honest. Until we can recognize that white privilege exists we cannot have a dialogue about race.”\u003c/p>\n\u003cp>The Kings Organization said in a statement they “respect the personal decision of Leah Tysse to exercise her freedom of speech.”\u003c/p>\n\u003cp>A Quinnipiac University poll released this week shows that most white Americans disapprove of protests by athletes during the national anthem while black Americans approve of the protests by an even larger margin.\u003c/p>\n\u003cp>Pop singer JoJo, who burst on the music scene at 13, said she’s still proud to sing the anthem because of the veterans in her family.\u003c/p>\n\u003cp>“When I sing the national anthem, I’m thinking of the veterans in my family, and I completely respect Colin’s stance to bring awareness to black people who are still facing injustice, and I really do respect it. But for me, I’m just, I enjoy singing the song,” said 25-year-old JoJo, who is white.\u003c/p>\n\u003cp>“Well this is what my mom said to me: ‘We’re all just trying to somehow make things right, so if we can come together as a country over that song, great. But at the end of the day, it’s easier said than done,'” she added.\u003c/p>\n\u003cp>Hamilton said he currently feels mixed emotions about being black in America in these racially charged times, and even sometimes feels betrayed.\u003c/p>\n\u003cp>“It feels like it’s a lie by the way they treat us,” Hamilton, 45, added of the anthem and how blacks are regarded in America. “Seems like the Constitution ain’t really constituting us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Rep's 'It Can't Happen Here' is All Play and No Politics",
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"content": "\u003cp>The Berkeley Repertory Theatre’s artistic director Tony Taccone reminds us in his program notes that he works for a not-for-profit organization, and that he is “forbidden, by law, to take political positions.” Though he quickly assures us that he and Berkeley Rep can overcome these limitations, “in the work we produce and the culture we create,” and rather wistfully adds, “there’s nothing to stop you from imagining my opinion.”\u003c/p>\n\u003cp>Since the Rep is opening its season with the premiere of Taccone and Bennett S. Cohen’s adaption of Sinclair Lewis’ 1935 anti-fascist novel, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, it seems impossible not to “imagine” what Taccone, the theater, Berkeley, or anyone else in the Bay Area thinks. Yet in raising that question, Taccone inadvertently uncovers a hornet’s nest of political assumptions that the production leaves unattended and unanswered.\u003c/p>\n\u003cp>The play begins with the actors prepping us on how to behave, respond, and think. We will be expected to perform the role of crowd energetically, no matter our true political feelings. We are told that the casting is not historically accurate in case anyone has “a problem with this,” and that “any resemblance in the play to current events is purely coincidental.” There are many winking asides after this last comment.\u003c/p>\n\u003cfigure id=\"attachment_12192308\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12192308 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg\" alt=\"Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the writers and the company have no idea of how to approach the material, and it speaks to the paucity of their theatrical imagination that their first move is an attempt at a faux-Brechtian engagement with the audience. Why bother to break the fourth wall to merely comfort and assure us that we all really understand what’s going on, that we all get the connections, and that we’re all in this together? I’m not even sure that’s a position from which you can think in a political manner.\u003c/p>\n\u003cp>From there, the play shifts registers to a rather old-fashioned mode of presentation, where everything is about the set-up, or, in the parlance of television show runners, “world building.” We meet our hero, the liberal, free-thinking journalist Doremus Jessup, his large family (almost impossible to keep track of or care for), and his community of extended family members and civic leaders. And we learn what might constitute a normal day in Fort Beulah, Vermont — a Fourth of July picnic — all the while catching glimpses (through a political meeting, a radio broadcast and other vignettes) of the rise of right-wing populist Buzz Windrip (a terrific David Kelly). It’s a long and laborsome slog to get to the beginnings of anything approaching drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drama arrives at last, if only for a moment, about 25\u003cstrong> \u003c/strong>minutes into the play, when Jessup’s eldest son Phillip argues that Windrip and his “lost man” movement are addressing real problems. Phillip uses his father’s handyman, Shad, as a ready example. It’s the first time in the play we get an inkling of real political stakes.\u003c/p>\n\u003cp>But sadly, Taccone and Cohen shut it down. Neither Phillip nor Shad are dramatically significant, and yet both are unnecessarily vile: Phillip treats his brother-in-law’s murder with a high-handed disdain, and Shad is portrayed as nothing more than a jack-booted thug. What the play fears most is not the rise of fascism, but rather the presence of any idea that might discomfort a moderately wealthy liberal.\u003c/p>\n\u003cp>Perhaps Taccone and Cohen are unconsciously feeling the influence of the glut of Young Adult comics, novels, and movies depicting dystopian worlds. Like the teenage mind they’re produced for, these fantasies of rebellion are quick to equate rules and authority with corruption. That’s equally true of \u003cem>It Can’t Happen Here, \u003c/em>a work that’s not truly interested in eliciting debate, confrontation or thinking — only the fantasy of what it might feel like to play at politics.\u003c/p>\n\u003cp>Without any real countervailing positions, all we’re left with is left-wing melodrama: the crusading journalist fighting an emergent fascist state. To say that Jessup suffers and fights is essentially to say that that’s what the fantasy requires. He must speak out, he must be threatened, he must be arrested, he must be tortured, he must survive, he must join the resistance, and he must go on. It’s a well-worn dream, and not anything close to political thought or critique.\u003c/p>\n\u003cfigure id=\"attachment_12192307\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg\" alt=\"(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372-400x228.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In producing \u003cem>It Can’t Happen Here\u003c/em>, the Rep is, of course, warning that it very well could happen here. If you view Donald Trump as an existential threat to American democracy, then the warning is true enough; it could happen here and we should be worried. Yet the threat, as the play presents it, is an unconvincing jumble of clichés, and its politics no more than a desire to play hero in a disaster. As such, it falls in line with all those aforementioned teenage dystopias — \u003cem>The Hunger Games\u003c/em>, \u003cem>The Giver\u003c/em>, \u003cem>Divergent — \u003c/em>that require fascist regimes in order for their young heroes and the audiences who applaud them to feel alive, real, and significant.\u003c/p>\n\u003cp>The last line of the Berkeley Rep’s mission statement says: “Berkeley Rep aspires to use theater as a means to challenge, thrill, and galvanize what is best in the human spirit.” The question is: whose human spirit? In this play, the answer is self-congratulatory: We are selfless heroes who see the unique threats to the American Republic, and those who might feel otherwise are monsters. For all the dangers that Trump poses, Berkeley Rep’s response feels equally dangerous and just as much a fantasy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘It Can’t Happen Here’ runs through Sunday, Nov. 6 at the Berkeley Repertory Theatre in Berkeley. For tickets and information, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Repertory Theatre’s artistic director Tony Taccone reminds us in his program notes that he works for a not-for-profit organization, and that he is “forbidden, by law, to take political positions.” Though he quickly assures us that he and Berkeley Rep can overcome these limitations, “in the work we produce and the culture we create,” and rather wistfully adds, “there’s nothing to stop you from imagining my opinion.”\u003c/p>\n\u003cp>Since the Rep is opening its season with the premiere of Taccone and Bennett S. Cohen’s adaption of Sinclair Lewis’ 1935 anti-fascist novel, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, it seems impossible not to “imagine” what Taccone, the theater, Berkeley, or anyone else in the Bay Area thinks. Yet in raising that question, Taccone inadvertently uncovers a hornet’s nest of political assumptions that the production leaves unattended and unanswered.\u003c/p>\n\u003cp>The play begins with the actors prepping us on how to behave, respond, and think. We will be expected to perform the role of crowd energetically, no matter our true political feelings. We are told that the casting is not historically accurate in case anyone has “a problem with this,” and that “any resemblance in the play to current events is purely coincidental.” There are many winking asides after this last comment.\u003c/p>\n\u003cfigure id=\"attachment_12192308\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12192308 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg\" alt=\"Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the writers and the company have no idea of how to approach the material, and it speaks to the paucity of their theatrical imagination that their first move is an attempt at a faux-Brechtian engagement with the audience. Why bother to break the fourth wall to merely comfort and assure us that we all really understand what’s going on, that we all get the connections, and that we’re all in this together? I’m not even sure that’s a position from which you can think in a political manner.\u003c/p>\n\u003cp>From there, the play shifts registers to a rather old-fashioned mode of presentation, where everything is about the set-up, or, in the parlance of television show runners, “world building.” We meet our hero, the liberal, free-thinking journalist Doremus Jessup, his large family (almost impossible to keep track of or care for), and his community of extended family members and civic leaders. And we learn what might constitute a normal day in Fort Beulah, Vermont — a Fourth of July picnic — all the while catching glimpses (through a political meeting, a radio broadcast and other vignettes) of the rise of right-wing populist Buzz Windrip (a terrific David Kelly). It’s a long and laborsome slog to get to the beginnings of anything approaching drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drama arrives at last, if only for a moment, about 25\u003cstrong> \u003c/strong>minutes into the play, when Jessup’s eldest son Phillip argues that Windrip and his “lost man” movement are addressing real problems. Phillip uses his father’s handyman, Shad, as a ready example. It’s the first time in the play we get an inkling of real political stakes.\u003c/p>\n\u003cp>But sadly, Taccone and Cohen shut it down. Neither Phillip nor Shad are dramatically significant, and yet both are unnecessarily vile: Phillip treats his brother-in-law’s murder with a high-handed disdain, and Shad is portrayed as nothing more than a jack-booted thug. What the play fears most is not the rise of fascism, but rather the presence of any idea that might discomfort a moderately wealthy liberal.\u003c/p>\n\u003cp>Perhaps Taccone and Cohen are unconsciously feeling the influence of the glut of Young Adult comics, novels, and movies depicting dystopian worlds. Like the teenage mind they’re produced for, these fantasies of rebellion are quick to equate rules and authority with corruption. That’s equally true of \u003cem>It Can’t Happen Here, \u003c/em>a work that’s not truly interested in eliciting debate, confrontation or thinking — only the fantasy of what it might feel like to play at politics.\u003c/p>\n\u003cp>Without any real countervailing positions, all we’re left with is left-wing melodrama: the crusading journalist fighting an emergent fascist state. To say that Jessup suffers and fights is essentially to say that that’s what the fantasy requires. He must speak out, he must be threatened, he must be arrested, he must be tortured, he must survive, he must join the resistance, and he must go on. It’s a well-worn dream, and not anything close to political thought or critique.\u003c/p>\n\u003cfigure id=\"attachment_12192307\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg\" alt=\"(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372-400x228.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In producing \u003cem>It Can’t Happen Here\u003c/em>, the Rep is, of course, warning that it very well could happen here. If you view Donald Trump as an existential threat to American democracy, then the warning is true enough; it could happen here and we should be worried. Yet the threat, as the play presents it, is an unconvincing jumble of clichés, and its politics no more than a desire to play hero in a disaster. As such, it falls in line with all those aforementioned teenage dystopias — \u003cem>The Hunger Games\u003c/em>, \u003cem>The Giver\u003c/em>, \u003cem>Divergent — \u003c/em>that require fascist regimes in order for their young heroes and the audiences who applaud them to feel alive, real, and significant.\u003c/p>\n\u003cp>The last line of the Berkeley Rep’s mission statement says: “Berkeley Rep aspires to use theater as a means to challenge, thrill, and galvanize what is best in the human spirit.” The question is: whose human spirit? In this play, the answer is self-congratulatory: We are selfless heroes who see the unique threats to the American Republic, and those who might feel otherwise are monsters. For all the dangers that Trump poses, Berkeley Rep’s response feels equally dangerous and just as much a fantasy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘It Can’t Happen Here’ runs through Sunday, Nov. 6 at the Berkeley Repertory Theatre in Berkeley. For tickets and information, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So it turns out that Mowgli may be a girl.\u003c/p>\n\u003cp>Mowgli is the hero of \u003cem>The Jungle Book\u003c/em>, Rudyard Kipling’s story collection about a wild boy raised by wolves in India. Most people are familiar with the story from Disney’s 1967 animated movie, for which child actor Bruce Reitherman voiced the role, or the live action Disney remake from last spring. Both of those Mowglis are male.\u003c/p>\n\u003cp>But the \u003ca href=\"http://www.marintheatre.org/productions/the-jungle-book\">Marin Theatre Company\u003c/a> (MTC) has cast the young, local actress Sango Tajima as Mowgli in its Family Series Production of \u003cem>Jungle Book\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jqmUoteadZI\u003c/p>\n\u003cp>The idea for the gender switch came from the play’s director Login Ellis. MTC got approval to cast a female in the lead role Wednesday from Greg Banks, the author of this adaptation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kipling’s stories, written in the 1890’s, are in the public domain.\u003c/p>\n\u003cp>“We just thought it was right time to do it and the right cast to do it with,” says Jason Minadakis, artistic director for MTC. “With everything that is going on today, we thought it was really important to re-envision [the work] with a female hero at the center of the play, one that has always been so male-centric.”\u003c/p>\n\u003cfigure id=\"attachment_12196028\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12196028\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sango-Tajima-Mowgli-in-MTCs-Jungle-Book-1-e1476320846672.jpg\" alt=\"Sango Tajima plays Mowgli in MTC's Jungle Book\" width=\"298\" height=\"218\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima plays Mowgli in MTC’s Jungle Book \u003ccite>(Photo: Courtesy of Sango Tajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By “everything going on today,” Minadakis says he means the Presidential campaign that could result in the election of Hillary Clinton as the first woman U.S. President, as well as the growing awareness of gender inequities throughout society.\u003c/p>\n\u003cp>“It just seems like we need to be re-envisioning stories that we hold as cultural touchstones, and letting the power of those stories apply to women and people of color who may have felt left out before,” Minadakis says.\u003c/p>\n\u003cp>Minadakis says the show’s director and dramaturg went through the script carefully to ensure all the gender references were correct for a woman in the role of Mowgli.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there was no need to tweak the name itself. Kipling made up the name, claiming that Mowgli was a wolf word for a smooth-skinned creature like a frog.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So it turns out that Mowgli may be a girl.\u003c/p>\n\u003cp>Mowgli is the hero of \u003cem>The Jungle Book\u003c/em>, Rudyard Kipling’s story collection about a wild boy raised by wolves in India. Most people are familiar with the story from Disney’s 1967 animated movie, for which child actor Bruce Reitherman voiced the role, or the live action Disney remake from last spring. Both of those Mowglis are male.\u003c/p>\n\u003cp>But the \u003ca href=\"http://www.marintheatre.org/productions/the-jungle-book\">Marin Theatre Company\u003c/a> (MTC) has cast the young, local actress Sango Tajima as Mowgli in its Family Series Production of \u003cem>Jungle Book\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jqmUoteadZI'\n title='//www.youtube.com/embed/jqmUoteadZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The idea for the gender switch came from the play’s director Login Ellis. MTC got approval to cast a female in the lead role Wednesday from Greg Banks, the author of this adaptation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kipling’s stories, written in the 1890’s, are in the public domain.\u003c/p>\n\u003cp>“We just thought it was right time to do it and the right cast to do it with,” says Jason Minadakis, artistic director for MTC. “With everything that is going on today, we thought it was really important to re-envision [the work] with a female hero at the center of the play, one that has always been so male-centric.”\u003c/p>\n\u003cfigure id=\"attachment_12196028\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12196028\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sango-Tajima-Mowgli-in-MTCs-Jungle-Book-1-e1476320846672.jpg\" alt=\"Sango Tajima plays Mowgli in MTC's Jungle Book\" width=\"298\" height=\"218\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima plays Mowgli in MTC’s Jungle Book \u003ccite>(Photo: Courtesy of Sango Tajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By “everything going on today,” Minadakis says he means the Presidential campaign that could result in the election of Hillary Clinton as the first woman U.S. President, as well as the growing awareness of gender inequities throughout society.\u003c/p>\n\u003cp>“It just seems like we need to be re-envisioning stories that we hold as cultural touchstones, and letting the power of those stories apply to women and people of color who may have felt left out before,” Minadakis says.\u003c/p>\n\u003cp>Minadakis says the show’s director and dramaturg went through the script carefully to ensure all the gender references were correct for a woman in the role of Mowgli.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there was no need to tweak the name itself. Kipling made up the name, claiming that Mowgli was a wolf word for a smooth-skinned creature like a frog.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thomas Ford, the actor who played Martin Lawrence’s best friend Tommy Strawn on the hit ’90s sitcom \u003cem>Martin\u003c/em>, died Wednesday in Atlanta. He was 52.\u003c/p>\n\u003cp>The actor played the level-headed pal of Lawrence on \u003cem>Martin\u003c/em> for the show’s entire five-year run. One running joke was his not having a job, prompting the catch phrase: “You don’t got no job, Tommy!”\u003c/p>\n\u003cp>“It is with great sadness that we announce the untimely passing of our beloved Son, father, brother, husband, and friend Tommy Mykal Ford,” the family said in a statement. “On behalf of the family, we would like to thank everyone for their love, support and prayers.”\u003c/p>\n\u003cp>Family spokeswoman Joy Pervis confirmed Ford’s death but gave no cause.\u003c/p>\n\u003cp>Ford had other TV parts, notable as Lt. Malcolm Barker on Fox’s \u003cem>New York Undercover\u003c/em> and as Mel Parker on UPN’s \u003cem>The Parkers\u003c/em> as well as playing the Pope of Comedy on TV One’s \u003cem>Who’s Got Jokes\u003c/em> with Bill Bellamy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several celebrities paid homage to Ford through social media, including Cedric the Entertainer and Rickey Smiley.\u003c/p>\n\u003cp>Before \u003cem>Martin\u003c/em>, he landed a spot in the 1989 Eddie Murphy and Richard Pryor film \u003cem>Harlem Nights\u003c/em>. He would co-produce, co-write or star in such films as \u003cem>Baby Mama’s Club\u003c/em>, \u003cem>Against the Law\u003c/em>, \u003cem>Beat Street Resurrection\u003c/em> and \u003cem>Love Different\u003c/em>.\u003c/p>\n\u003cp>Ford was also a motivational speaker and a children’s’ book author. He appeared in the fourth season of TV One’s \u003cem>Bill Bellamy’s Who’s Got Jokes?\u003c/em>\u003c/p>\n\u003cp>The actor’s website said he had been focusing on building a career behind the camera. He had directed and produced several webisodes, and currently filming \u003cem>Reverse the Lynch Curse\u003c/em>, a documentary about breaking curses of distrust and envy. Ford was also involved in several theater productions.\u003c/p>\n\u003cp>The family said funeral arrangements will be forthcoming.\u003c/p>\n\u003cp>“Please respect the privacy of the Ford family during our time of grief,” the statement said.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>Associated Press writer Mark Kennedy in New York contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several celebrities paid homage to Ford through social media, including Cedric the Entertainer and Rickey Smiley.\u003c/p>\n\u003cp>Before \u003cem>Martin\u003c/em>, he landed a spot in the 1989 Eddie Murphy and Richard Pryor film \u003cem>Harlem Nights\u003c/em>. He would co-produce, co-write or star in such films as \u003cem>Baby Mama’s Club\u003c/em>, \u003cem>Against the Law\u003c/em>, \u003cem>Beat Street Resurrection\u003c/em> and \u003cem>Love Different\u003c/em>.\u003c/p>\n\u003cp>Ford was also a motivational speaker and a children’s’ book author. He appeared in the fourth season of TV One’s \u003cem>Bill Bellamy’s Who’s Got Jokes?\u003c/em>\u003c/p>\n\u003cp>The actor’s website said he had been focusing on building a career behind the camera. He had directed and produced several webisodes, and currently filming \u003cem>Reverse the Lynch Curse\u003c/em>, a documentary about breaking curses of distrust and envy. Ford was also involved in several theater productions.\u003c/p>\n\u003cp>The family said funeral arrangements will be forthcoming.\u003c/p>\n\u003cp>“Please respect the privacy of the Ford family during our time of grief,” the statement said.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>Associated Press writer Mark Kennedy in New York contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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