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"bio": "Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>",
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"content": "\u003cp>\u003cstrong>Saturday, Sep. 24 – Sunday, Sep 25: NapaShakes and Folger Shakespeare Library present \u003ca href=\"https://napashakes.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Measure + Dido\u003c/em>\u003c/a> at Lincoln Theater, Yountville and Green Music Center, Rohnert Park\u003c/strong>\u003cbr>\nSir Derek Jacobi, one of the world’s greatest classical stage performers, stars alongside actor-director Richard Clifford and members of the Folger Consort early music ensemble from Washington D.C. in an epic world premiere mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> and Purcell’s \u003cem>Dido and Aeneas\u003c/em>. The show moves to the Kennedy Center in October.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xJ2BLyrNuA4\u003c/p>\n\u003cp>\u003cstrong>Friday, Sep. 9 – Saturday, Dec. 10: \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/jill-magid-the-proposal\" target=\"_blank\" rel=\"noopener\">\u003cem>Jill Magid: The Proposal\u003c/em>\u003c/a> at San Francisco Art Institute, San Francisco\u003c/strong>\u003cbr>\nThis fascinating and bizarre conceptual art project tells the story of Brooklyn artist Jill Magid and her unflagging quest to repatriate the archive of famed Mexican architect Luis Barragán by growing a two-carat diamond from the architect’s cremated remains and setting it in a ring that is on permanent offer to the private owner of Barragán’s professional archive in exchange for returning the archive to the family and Mexican government. The artifacts on view at the Art Institute, which include the diamond ring and a video of the exhumation, raise all kinds of questions to do with artistic legacy and public/private ownership.\u003c/p>\n\u003cfigure id=\"attachment_11968233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11968233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg\" alt=\"'Jill Magid: The Proposal' (detail), 2016 Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Jill Magid: The Proposal’ (detail), 2016\u003cbr>Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris. \u003ccite>(Photo: Kunst Halle Sankt Gallen/Stefan Jaeggi.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Sep. 30 – Sunday, Oct. 2: Cal Performances. Mark Morris Dance Group and The Silk Road Ensemble present \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Layla and Majnun\u003c/em>\u003c/a> at Zellerbach Hall, Berkeley\u003c/strong>\u003cbr>\nAn A-List team of creators including choreographer Mark Morris and his dance company, painter Howard Hodgkin, Azerbaijani superstar singers Alim Qasimov and Fargana Qasimova, and the members of the world-famous music group, the Silk Road Ensemble, unite for this world premiere retelling of an ancient Persian love story through dance, music and colorful visuals. Like Romeo and Juliet, the couple at the center of this narrative are forbidden to wed. And things only spiral downwards from there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bS8ztsh6jt4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Sep. 23 – Sunday, Sep. 25: Paul Dresher Ensemble presents \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">\u003cem>Schick Machine\u003c/em>\u003c/a> at Z Space, San Francisco\u003c/strong>\u003cbr>\nVirtuoso percussionist Steven Schick is set loose on a stage packed with inventor-composer Paul Dresher’s fantastical, homemade musical instruments. These include the Hurdy Grande (a hurdy gurdy on steroids), the Peacock (a deconstructed pipe organ) and other creations brought forth from Dresher’s imagination.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYVMrCD-W04\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Sep. 1 – Thursday, Oct. 20: City of San Jose presents \u003ca href=\"http://www.livesv.com/event/citydance-san-jose/\" target=\"_blank\" rel=\"noopener\">\u003cem>CityDance San Jose\u003c/em>\u003c/a> at Plaza de César Chávez, San Jose\u003c/strong>\u003cbr>\nThis weekly happy hour, outdoor dance party to live music is a great way to let off some steam as the weekend approaches. Instructors are on hand to help you perfect your moves across an array of genres, including the two-step, foxtrot, and merengue. The event features a beer garden and food trucks so you can stay fueled up while getting on down.\u003c/p>\n\n",
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"excerpt": "KQED Newsroom host Thuy Vu and senior arts editor Chloe Veltman discuss the latest local arts news headlines and look at upcoming cultural happenings around the Bay Area. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Saturday, Sep. 24 – Sunday, Sep 25: NapaShakes and Folger Shakespeare Library present \u003ca href=\"https://napashakes.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>Measure + Dido\u003c/em>\u003c/a> at Lincoln Theater, Yountville and Green Music Center, Rohnert Park\u003c/strong>\u003cbr>\nSir Derek Jacobi, one of the world’s greatest classical stage performers, stars alongside actor-director Richard Clifford and members of the Folger Consort early music ensemble from Washington D.C. in an epic world premiere mashup of Shakespeare’s \u003cem>Measure for Measure\u003c/em> and Purcell’s \u003cem>Dido and Aeneas\u003c/em>. The show moves to the Kennedy Center in October.\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/xJ2BLyrNuA4'\n title='//www.youtube.com/embed/xJ2BLyrNuA4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Sep. 9 – Saturday, Dec. 10: \u003ca href=\"http://www.sfai.edu/exhibitions-public-events/detail/jill-magid-the-proposal\" target=\"_blank\" rel=\"noopener\">\u003cem>Jill Magid: The Proposal\u003c/em>\u003c/a> at San Francisco Art Institute, San Francisco\u003c/strong>\u003cbr>\nThis fascinating and bizarre conceptual art project tells the story of Brooklyn artist Jill Magid and her unflagging quest to repatriate the archive of famed Mexican architect Luis Barragán by growing a two-carat diamond from the architect’s cremated remains and setting it in a ring that is on permanent offer to the private owner of Barragán’s professional archive in exchange for returning the archive to the family and Mexican government. The artifacts on view at the Art Institute, which include the diamond ring and a video of the exhumation, raise all kinds of questions to do with artistic legacy and public/private ownership.\u003c/p>\n\u003cfigure id=\"attachment_11968233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11968233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg\" alt=\"'Jill Magid: The Proposal' (detail), 2016 Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-800x508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-1920x1219.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/1_Doku_JMagid_KHSG_sj_DSC9915_HighRes_WEB_Full-e1471910146717-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Jill Magid: The Proposal’ (detail), 2016\u003cbr>Uncut, 2.02 carat, blue diamond with micro-laser inscription “I am wholeheartedly yours,” silver ring, ring box, documents. Setting design: Anndra Neen. Courtesy of the artist; LABOR, Mexico City; RaebervonStenglin, Zurich and Galerie Untilthen, Paris. \u003ccite>(Photo: Kunst Halle Sankt Gallen/Stefan Jaeggi.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Sep. 30 – Sunday, Oct. 2: Cal Performances. Mark Morris Dance Group and The Silk Road Ensemble present \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Layla and Majnun\u003c/em>\u003c/a> at Zellerbach Hall, Berkeley\u003c/strong>\u003cbr>\nAn A-List team of creators including choreographer Mark Morris and his dance company, painter Howard Hodgkin, Azerbaijani superstar singers Alim Qasimov and Fargana Qasimova, and the members of the world-famous music group, the Silk Road Ensemble, unite for this world premiere retelling of an ancient Persian love story through dance, music and colorful visuals. Like Romeo and Juliet, the couple at the center of this narrative are forbidden to wed. And things only spiral downwards from there.\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/bS8ztsh6jt4'\n title='//www.youtube.com/embed/bS8ztsh6jt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Sep. 23 – Sunday, Sep. 25: Paul Dresher Ensemble presents \u003ca href=\"http://www.zspace.org/schick-machine/\" target=\"_blank\" rel=\"noopener\">\u003cem>Schick Machine\u003c/em>\u003c/a> at Z Space, San Francisco\u003c/strong>\u003cbr>\nVirtuoso percussionist Steven Schick is set loose on a stage packed with inventor-composer Paul Dresher’s fantastical, homemade musical instruments. These include the Hurdy Grande (a hurdy gurdy on steroids), the Peacock (a deconstructed pipe organ) and other creations brought forth from Dresher’s imagination.\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/PYVMrCD-W04'\n title='//www.youtube.com/embed/PYVMrCD-W04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Sep. 1 – Thursday, Oct. 20: City of San Jose presents \u003ca href=\"http://www.livesv.com/event/citydance-san-jose/\" target=\"_blank\" rel=\"noopener\">\u003cem>CityDance San Jose\u003c/em>\u003c/a> at Plaza de César Chávez, San Jose\u003c/strong>\u003cbr>\nThis weekly happy hour, outdoor dance party to live music is a great way to let off some steam as the weekend approaches. Instructors are on hand to help you perfect your moves across an array of genres, including the two-step, foxtrot, and merengue. The event features a beer garden and food trucks so you can stay fueled up while getting on down.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Burning Man Artists Haul Gutted 747 Jetliner to Desert",
"title": "Burning Man Artists Haul Gutted 747 Jetliner to Desert",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>A peculiar sight emerges from the Nevada desert floor: a Boeing 747, sliced in half lengthways. If you step out of the emergency exit, you'll find yourself in a poof of playa dust, amid the hubbub of \u003ca href=\"http://burningman.org/\">Burning Man\u003c/a>, which begins this Sunday.\u003c/p>\n\u003cp>The airplane is a refugee of sorts, born as an idea and pulled from the hundreds of decommissioned planes at the \u003ca href=\"http://www.michaeljohngrist.com/2009/10/airplane-boneyard-in-the-mojave-desert/\">Mojave Boneyard \u003c/a>in California's high desert.\u003c/p>\n\u003cp>Volunteers have spent the last few months working on what's known as the \u003ca href=\"http://www.bigimagination.org/747\">747 Project\u003c/a> at the \u003ca href=\"http://www.mojaveairport.com/\">Mojave Air and Space Port\u003c/a>, about halfway between Bakersfield and Barstow. They've been transforming the jetliner into what they hope will be the world's largest mobile art installation.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/280101563\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>On a recent Thursday, work crews and volunteers used a forklift to move metal beams into place so the plane could be lifted onto the back of a semi truck to make the 500-mile trek up the spine of California, along the eastern Sierra Nevada, to the arts festival in Nevada known for its burning centerpiece.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Only the top half of the plane would make the trip this year -- all that was the cabin -- phase one of the 747 Project. The tail is gone. The wings have been clipped. The inside has been cleaned out, leaving a cavernous, seat-less tube with its metal ribs exposed. It's a half football field long and three stories tall. One volunteer jokes that you could fit another plane inside it.\u003c/p>\n\u003cp>The goal is to eventually take the entire plane up to Burning Man.\u003c/p>\n\u003cp>\"How do you eat an elephant? A little bit at a time,\" Ken Feldman jokes. He is the CEO of the \u003ca href=\"http://www.bigimagination.org/\">Big Imagination Foundation\u003c/a>, the nonprofit arts organization that is funding the project with donations and an \u003ca href=\"https://www.indiegogo.com/projects/the-747-project--2#/\">IndieGoGo campaign\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11062199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg\" alt=\"747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plane will be decorated with lights, with DJs playing music and people dancing inside. But as with so many other art projects at Burning Man, this one is interactive.\u003c/p>\n\u003cp>\"You come up through the cargo bay and you come to another staircase and at the top of that is the 'insecurity checkpoint,' where our TSA agents -- Touching Sensitive Areas -- will pat you down and help you get rid of your insecurities,\" Feldman explains. \"Then you move to the baggage check, where another flight attendant will ask you, 'Do you have any emotional baggage that you want to drop off?' \"\u003c/p>\n\u003cp>Then it's on to the boarding zone, where a flight attendant asks where you're going.\u003c/p>\n\u003cp>\"And if someone says, 'Oh, I want to go to Disneyland!' It's like, 'No, no, no: Where, where are you going in \u003cem>life?\u003c/em> Where do you want to go?' And we give you a boarding pass, where you write down on the boarding pass where you are headed.\" Feldman says.\u003c/p>\n\u003cp>Then you staple your boarding pass onto the \"Destination Wall.\"\u003c/p>\n\u003cp>\"The flight attendant gives you a little airplane wings, gives you a little hug and sets you on your way,\" Feldman smiles.\u003c/p>\n\u003cp>Feldman came up with the idea during his second year at Burning Man a few years ago when he saw two bicycles made of fuel tanks of fighter jets. He sketched out the idea in the dust on the ground. His friends told him he was crazy. But seven years later, they're helping him with the plane.\u003c/p>\n\u003cp>Feldman says the idea is to use this interactive art to inspire people to dream big, much like the plane itself -- \"to make the world a better place, right? That's the ultimate inspiration.\"\u003c/p>\n\u003cp>Volunteer Nick Avila drove down from San Francisco to help with the plane. On this particular day, he's troubleshooting how to secure seats in the cockpit and trying to figure out how to rig fake cockpit instruments to do things when people press buttons and take the controls.\u003c/p>\n\u003cfigure id=\"attachment_11062202\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062202\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg\" alt=\"A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"All this stuff is hopefully going to work. Like you can come and pull the throttle up, down.\" Avila shows how the throttle controls move. \"Probably shouldn't move the landing gear thing, but you can move that around. So it'll be cool.\"\u003c/p>\n\u003cp>Avila says the 747 Project is part of the Burning Man tradition of \u003ca href=\"https://www.youtube.com/watch?v=_A8OTGapssc\">art cars\u003c/a>, which people at the festival call \u003ca href=\"http://burningman.org/event/black-rock-city-guide/infrastructure/dept-of-mutant-vehicles/\">\"mutant vehicles.\" \u003c/a> They're basically any vehicle, from bicycles to buses, made to look like something else, like \u003ca href=\"https://www.youtube.com/watch?v=c00w9ec2OF0\">pirate ships\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qMtKtGIw4c8\">dragons\u003c/a> and even \u003ca href=\"https://www.youtube.com/watch?v=zRL9dDHLh1I\">unicorns\u003c/a>.\u003c/p>\n\u003cp>Avila has worked on one art car project before, \u003ca href=\"https://www.facebook.com/BeezusChristSuperCar/?hc_ref=SEARCH&fref=nf\">Beezus Christ Super Car\u003c/a>, a utility cart turned into a bee. He said it was \"1/100th of the size\" of the 747 Project.\u003c/p>\n\u003cp>\"And we would serve honey out the back and preach the teachings of Beezus Christ over a megaphone,\" Avila remembers. \"So it was kind of like a fake religious thing and also we would just give out honey to people. You know, taste the body of Beezus Christ.\"\u003c/p>\n\u003cp>Avila laughs. He says it's the ridiculousness of it all that he loves.\u003c/p>\n\u003cp>\"To me, it's about bringing cool things out that you built for no real reason, other than just to bring it there and share it with people,\" Avila says, pointing out that he has his own ridiculous theme camp at Burning Man this year. It serves coffee and spankings. And it's called \u003ca href=\"https://playaevents.burningman.org/2016/playa_event/20472\">Scarbutts\u003c/a>.\u003c/p>\n\u003cp>\"It's just like almost anything you could ever imagine is going to end up being there eventually,\" Avila says.\u003c/p>\n\u003cp>Next year, Big Imagination plans to bring up the bottom half of the plane, bolt it back to the top and drive it around Burning Man with an airport tug.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Keru McKenzie of Ridgecrest, who's been working on the plane several days a week for the past few weeks, says he's excited to see it come to life in the Nevada desert. \"It's the people and the art and the interaction. It's different than going to a concert or a music festival where you sit in the audience. You know, they might stand and wave and clap and what not. But at Burning Man, you're actually out there being. You're part of the theater.\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A peculiar sight emerges from the Nevada desert floor: a Boeing 747, sliced in half lengthways. If you step out of the emergency exit, you'll find yourself in a poof of playa dust, amid the hubbub of \u003ca href=\"http://burningman.org/\">Burning Man\u003c/a>, which begins this Sunday.\u003c/p>\n\u003cp>The airplane is a refugee of sorts, born as an idea and pulled from the hundreds of decommissioned planes at the \u003ca href=\"http://www.michaeljohngrist.com/2009/10/airplane-boneyard-in-the-mojave-desert/\">Mojave Boneyard \u003c/a>in California's high desert.\u003c/p>\n\u003cp>Volunteers have spent the last few months working on what's known as the \u003ca href=\"http://www.bigimagination.org/747\">747 Project\u003c/a> at the \u003ca href=\"http://www.mojaveairport.com/\">Mojave Air and Space Port\u003c/a>, about halfway between Bakersfield and Barstow. They've been transforming the jetliner into what they hope will be the world's largest mobile art installation.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/280101563&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/280101563'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent Thursday, work crews and volunteers used a forklift to move metal beams into place so the plane could be lifted onto the back of a semi truck to make the 500-mile trek up the spine of California, along the eastern Sierra Nevada, to the arts festival in Nevada known for its burning centerpiece.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Only the top half of the plane would make the trip this year -- all that was the cabin -- phase one of the 747 Project. The tail is gone. The wings have been clipped. The inside has been cleaned out, leaving a cavernous, seat-less tube with its metal ribs exposed. It's a half football field long and three stories tall. One volunteer jokes that you could fit another plane inside it.\u003c/p>\n\u003cp>The goal is to eventually take the entire plane up to Burning Man.\u003c/p>\n\u003cp>\"How do you eat an elephant? A little bit at a time,\" Ken Feldman jokes. He is the CEO of the \u003ca href=\"http://www.bigimagination.org/\">Big Imagination Foundation\u003c/a>, the nonprofit arts organization that is funding the project with donations and an \u003ca href=\"https://www.indiegogo.com/projects/the-747-project--2#/\">IndieGoGo campaign\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11062199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062199\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg\" alt=\"747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20970_IMG_1969-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">747 Project creator Ken Feldman (Hawaiian shirt), workers and volunteers help place beams that will help transport the plane to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plane will be decorated with lights, with DJs playing music and people dancing inside. But as with so many other art projects at Burning Man, this one is interactive.\u003c/p>\n\u003cp>\"You come up through the cargo bay and you come to another staircase and at the top of that is the 'insecurity checkpoint,' where our TSA agents -- Touching Sensitive Areas -- will pat you down and help you get rid of your insecurities,\" Feldman explains. \"Then you move to the baggage check, where another flight attendant will ask you, 'Do you have any emotional baggage that you want to drop off?' \"\u003c/p>\n\u003cp>Then it's on to the boarding zone, where a flight attendant asks where you're going.\u003c/p>\n\u003cp>\"And if someone says, 'Oh, I want to go to Disneyland!' It's like, 'No, no, no: Where, where are you going in \u003cem>life?\u003c/em> Where do you want to go?' And we give you a boarding pass, where you write down on the boarding pass where you are headed.\" Feldman says.\u003c/p>\n\u003cp>Then you staple your boarding pass onto the \"Destination Wall.\"\u003c/p>\n\u003cp>\"The flight attendant gives you a little airplane wings, gives you a little hug and sets you on your way,\" Feldman smiles.\u003c/p>\n\u003cp>Feldman came up with the idea during his second year at Burning Man a few years ago when he saw two bicycles made of fuel tanks of fighter jets. He sketched out the idea in the dust on the ground. His friends told him he was crazy. But seven years later, they're helping him with the plane.\u003c/p>\n\u003cp>Feldman says the idea is to use this interactive art to inspire people to dream big, much like the plane itself -- \"to make the world a better place, right? That's the ultimate inspiration.\"\u003c/p>\n\u003cp>Volunteer Nick Avila drove down from San Francisco to help with the plane. On this particular day, he's troubleshooting how to secure seats in the cockpit and trying to figure out how to rig fake cockpit instruments to do things when people press buttons and take the controls.\u003c/p>\n\u003cfigure id=\"attachment_11062202\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11062202\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg\" alt=\"A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man.\" width=\"800\" height=\"1067\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20968_IMG_1971-qut-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the Mojave Desert from the back of the 747 Project in August 2016, before it was transported to Burning Man. \u003ccite>(Susan Valot/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"All this stuff is hopefully going to work. Like you can come and pull the throttle up, down.\" Avila shows how the throttle controls move. \"Probably shouldn't move the landing gear thing, but you can move that around. So it'll be cool.\"\u003c/p>\n\u003cp>Avila says the 747 Project is part of the Burning Man tradition of \u003ca href=\"https://www.youtube.com/watch?v=_A8OTGapssc\">art cars\u003c/a>, which people at the festival call \u003ca href=\"http://burningman.org/event/black-rock-city-guide/infrastructure/dept-of-mutant-vehicles/\">\"mutant vehicles.\" \u003c/a> They're basically any vehicle, from bicycles to buses, made to look like something else, like \u003ca href=\"https://www.youtube.com/watch?v=c00w9ec2OF0\">pirate ships\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qMtKtGIw4c8\">dragons\u003c/a> and even \u003ca href=\"https://www.youtube.com/watch?v=zRL9dDHLh1I\">unicorns\u003c/a>.\u003c/p>\n\u003cp>Avila has worked on one art car project before, \u003ca href=\"https://www.facebook.com/BeezusChristSuperCar/?hc_ref=SEARCH&fref=nf\">Beezus Christ Super Car\u003c/a>, a utility cart turned into a bee. He said it was \"1/100th of the size\" of the 747 Project.\u003c/p>\n\u003cp>\"And we would serve honey out the back and preach the teachings of Beezus Christ over a megaphone,\" Avila remembers. \"So it was kind of like a fake religious thing and also we would just give out honey to people. You know, taste the body of Beezus Christ.\"\u003c/p>\n\u003cp>Avila laughs. He says it's the ridiculousness of it all that he loves.\u003c/p>\n\u003cp>\"To me, it's about bringing cool things out that you built for no real reason, other than just to bring it there and share it with people,\" Avila says, pointing out that he has his own ridiculous theme camp at Burning Man this year. It serves coffee and spankings. And it's called \u003ca href=\"https://playaevents.burningman.org/2016/playa_event/20472\">Scarbutts\u003c/a>.\u003c/p>\n\u003cp>\"It's just like almost anything you could ever imagine is going to end up being there eventually,\" Avila says.\u003c/p>\n\u003cp>Next year, Big Imagination plans to bring up the bottom half of the plane, bolt it back to the top and drive it around Burning Man with an airport tug.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keru McKenzie of Ridgecrest, who's been working on the plane several days a week for the past few weeks, says he's excited to see it come to life in the Nevada desert. \"It's the people and the art and the interaction. It's different than going to a concert or a music festival where you sit in the audience. You know, they might stand and wave and clap and what not. But at Burning Man, you're actually out there being. You're part of the theater.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "google-gives-back-blog-to-writer-after-removing-it-for-decade-old-image",
"title": "Google Returns Blog to 'Dangerous Writer' Dennis Cooper",
"publishDate": 1472257183,
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"headTitle": "Google Returns Blog to ‘Dangerous Writer’ Dennis Cooper | KQED",
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"content": "\u003cp>Author Dennis Cooper took on Google over the removal of his long-running blog, and after two months, he’s emerged as a victor: the Goliath of the Internet is giving it back.\u003c/p>\n\u003cp>Cooper, best known for the gritty, drugs-and-sex-fueled series of novels called the \u003ca href=\"http://www.dennis-cooper.net/georgemiles.htm\" target=\"_blank\" rel=\"noopener\">George Miles cycle\u003c/a>, has published regularly on his blog \u003ci>\u003ca href=\"http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">The Weaklings\u003c/a> (\u003c/i>also known as \u003ci>DC’s Blog\u003c/i>) since 2002. But on June 27, he discovered that his blog had vanished. In its place was a note from Google, which hosted it, telling Cooper that his site had been shut down.\u003c/p>\n\u003cp>“They have never said or sent one word to me about what has happened or why,” Cooper said at the time. “I can only guess: either because they had some objection to something I posted on my blog, or it was hacked, or technical problem, or some accident that disabled my account.”\u003c/p>\n\u003cp>When KQED asked why Google removed his blog, the company sent a formulaic response:\u003c/p>\n\u003cblockquote>\u003cp>Thank you for getting in touch. We’re aware of this matter and not able to comment on specific user accounts. Here’s a link to our \u003ca href=\"https://www.google.com/policies/terms/\" target=\"_blank\" rel=\"noopener\">Terms of Service\u003c/a>, \u003ca href=\"https://www.google.com/intl/en_us/mail/help/program_policies.html\" target=\"_blank\" rel=\"noopener\">Gmail Policy\u003c/a> and \u003ca href=\"https://www.blogger.com/content.g?hl=en\" target=\"_blank\" rel=\"noopener\">Blogger Policy\u003c/a>.\u003c/p>\n\u003cp>Best,\u003c/p>\n\u003cp>The Google Press Team\u003c/p>\u003c/blockquote>\n\u003cp>They did not answer any follow up questions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perplexed, Cooper began reaching out to the press. He said he was worried that he had lost more than 10 years of irreplaceable compositions when his blog was taken down. The losses included two early examples of GIF novels (novels consisting purely of animated GIFs), one of which, \u003ci>Zac’s Haunted House, \u003c/i>had garnered the writer \u003ca href=\"http://www.newyorker.com/books/page-turner/how-dennis-cooper-creates-fiction-from-gifs\" target=\"_blank\" rel=\"noopener\">critical\u003c/a> \u003ca href=\"http://www.theverge.com/2015/1/16/7556041/dennis-cooper-gif-novel-zacs-haunted-house\" target=\"_blank\" rel=\"noopener\">acclaim\u003c/a>. So Cooper lawyered up and continued to push Google to allow him to at least retrieve his archives.\u003c/p>\n\u003cp>“If I get my blog’s contents back, I’m fairly certain I will continue the blog elsewhere,” Cooper said. “If my 10 years of work, thousands of posts, six days a week effort, and my new GIF novel that I spent 7 months working on are totally lost, I think I might be too heartbroken and dispirited to continue.”\u003c/p>\n\u003cp>Cooper successfully fought Google in the media, getting stories in the \u003cem>\u003ca href=\"http://www.nytimes.com/2016/07/30/opinion/sunday/the-blog-that-disappeared.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, the \u003cem>\u003ca href=\"https://www.theguardian.com/books/2016/jul/14/dennis-cooper-google-censorship-dc-blog\" target=\"_blank\" rel=\"noopener\">Guardian\u003c/a>\u003c/em> and the \u003cem>\u003ca href=\"http://www.newyorker.com/culture/culture-desk/why-did-google-erase-dennis-coopers-beloved-literary-blog\" target=\"_blank\" rel=\"noopener\">New Yorker,\u003c/a>\u003c/em> as well as international publications. Also, the free speech advocacy group \u003ca href=\"https://pen.org/blog/pen-concerned-google-suspension-artist-blog\" target=\"_blank\" rel=\"noopener\">PEN America\u003c/a> has had his back for much of the fight and a \u003ca href=\"https://www.change.org/p/google-restore-dennis-cooper-s-blog-and-email\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> garnered more than 4,000 signatures.\u003c/p>\n\u003cp>Less than a month later, Google’s lawyers reached out to Cooper’s attorney and \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1095110797242053&id=214073142012494\" target=\"_blank\" rel=\"noopener\">began working on a resolution\u003c/a>. On Friday, Aug. 26, Cooper, who lives in France, announced on his \u003ca href=\"https://www.facebook.com/Dennis-Coopers-Blog-214073142012494/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> in the early morning that Google had agreed to \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\" target=\"_blank\" rel=\"noopener\">give him his blog back\u003c/a>.\u003c/p>\n\u003cp>“I am very, very happy to be able announce that the two month-long Google-related nightmare is over,” Cooper wrote.\u003c/p>\n\u003cblockquote>\u003cp>“The gist: (1) My DC’s blog will restart in a new location on this coming Monday. Watch this space. I have the data for the archive of my disabled blog, but it’s not something that can be uploaded into the new blog intact. I will need to restore each post by hand, and since there are many thousands of posts, that restoration will happen very gradually over time. (2) I have the data for the 10 years of correspondence in my gmail account. (3) My GIF novel ‘Zac’s Freight Elevator’ has been rescued. It will be published as a free download this November. More details on that are forthcoming.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Why did Google remove Cooper’s blog?\u003c/b>\u003c/p>\n\u003cp>Google was vague regarding Cooper’s blog, forcing Cooper and other commentators to speculate as to why the blog was removed. All pointed to the same thing: Cooper’s regular posts about ads for male prostitutes.\u003c/p>\n\u003cp>Cooper defends this content. “90-plus percent of my blog posts are about experimental art, writing, film, music, video games, amusement parks, etc. Nothing remotely controversial or objectionable,” Cooper said. “Twice a month I do a post that features profile texts I have taken from various websites where male escorts do their business, usually edited, to emphasize their accidental literary qualities and their emotionality. The escorts whose profiles I use are all adults, and any images I use in those posts aren’t pornographic at all and rarely even show genitalia.”\u003c/p>\n\u003cp>Thanks to the Internet archival website the Wayback Machine, we can see a few of these posts. It’s fair to say that Cooper might not be as vigilant as he should in terms of keeping graphic images off his site. (\u003ca href=\"https://web.archive.org/web/20091016193456/http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">See for yourself\u003c/a>, but warning: NSFW)\u003c/p>\n\u003cp>Yet it’s Cooper’s willingness to spotlight touchy subjects like male prostitution that make him the writer he is today. Fearless with his subjects, Cooper was once called “the most dangerous writer in America” by the \u003cem>Village Voice\u003c/em> and “a master of transgressive literature” by the \u003cem>Guardian\u003c/em>.\u003c/p>\n\u003cp>But now Cooper knows the answer, and it’s nothing like he had initially thought. In his Facebook announcement, Cooper said Google removed his blog after someone reported that a picture posted on his blog back in 2006 featured child pornography.\u003c/p>\n\u003cblockquote>\u003cp>In 2006, I did one of those posts where I asked people to send me things they thought were sexy. I had forgotten all about that post until the other day, and I don’t remember what was in it. I do remember that, upon assembling the post, I realized there was some rather pornographic things therein that could potentially get my blog in trouble. So I set up that Self-Portrait Day on a separate page off the blog that could only be accessed on the blog through a link with an adult content warning.\u003c/p>\n\u003cp>According to Google, around the time my account was disabled, some unknown person came across this ten year-old page, thought one of the images on it constituted child pornography, and reported it to Google who immediately disabled my account. Now let me just say that I know there are people who don’t know me or my work well and think I’m some kind of ultra-transgressive shock-creating monster, but I completely assure you that if someone had sent me an image that I thought was child pornography, I would never have uploaded it, period.\u003c/p>\u003c/blockquote>\n\u003cp>Cooper spent months trying to convince Google to let him get into his blog and remove the offending image. He was refused time and time again. “What followed was about three weeks of discussions, negotiations, and so on,” Cooper said. “Finally, a week ago, Google suddenly announced that they were going to send me the data for the DC’s blog and my email account. They did, and that’s how and when the stand-off ended.”\u003c/p>\n\u003cp>Cooper says his blog will be up again by Monday.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Read Cooper’s full statement on his Facebook page:\u003c/i>\u003cbr>\nhttps://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Author Dennis Cooper took on Google over the removal of his long-running blog, and after two months, he’s emerged as a victor: the Goliath of the Internet is giving it back.\u003c/p>\n\u003cp>Cooper, best known for the gritty, drugs-and-sex-fueled series of novels called the \u003ca href=\"http://www.dennis-cooper.net/georgemiles.htm\" target=\"_blank\" rel=\"noopener\">George Miles cycle\u003c/a>, has published regularly on his blog \u003ci>\u003ca href=\"http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">The Weaklings\u003c/a> (\u003c/i>also known as \u003ci>DC’s Blog\u003c/i>) since 2002. But on June 27, he discovered that his blog had vanished. In its place was a note from Google, which hosted it, telling Cooper that his site had been shut down.\u003c/p>\n\u003cp>“They have never said or sent one word to me about what has happened or why,” Cooper said at the time. “I can only guess: either because they had some objection to something I posted on my blog, or it was hacked, or technical problem, or some accident that disabled my account.”\u003c/p>\n\u003cp>When KQED asked why Google removed his blog, the company sent a formulaic response:\u003c/p>\n\u003cblockquote>\u003cp>Thank you for getting in touch. We’re aware of this matter and not able to comment on specific user accounts. Here’s a link to our \u003ca href=\"https://www.google.com/policies/terms/\" target=\"_blank\" rel=\"noopener\">Terms of Service\u003c/a>, \u003ca href=\"https://www.google.com/intl/en_us/mail/help/program_policies.html\" target=\"_blank\" rel=\"noopener\">Gmail Policy\u003c/a> and \u003ca href=\"https://www.blogger.com/content.g?hl=en\" target=\"_blank\" rel=\"noopener\">Blogger Policy\u003c/a>.\u003c/p>\n\u003cp>Best,\u003c/p>\n\u003cp>The Google Press Team\u003c/p>\u003c/blockquote>\n\u003cp>They did not answer any follow up questions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perplexed, Cooper began reaching out to the press. He said he was worried that he had lost more than 10 years of irreplaceable compositions when his blog was taken down. The losses included two early examples of GIF novels (novels consisting purely of animated GIFs), one of which, \u003ci>Zac’s Haunted House, \u003c/i>had garnered the writer \u003ca href=\"http://www.newyorker.com/books/page-turner/how-dennis-cooper-creates-fiction-from-gifs\" target=\"_blank\" rel=\"noopener\">critical\u003c/a> \u003ca href=\"http://www.theverge.com/2015/1/16/7556041/dennis-cooper-gif-novel-zacs-haunted-house\" target=\"_blank\" rel=\"noopener\">acclaim\u003c/a>. So Cooper lawyered up and continued to push Google to allow him to at least retrieve his archives.\u003c/p>\n\u003cp>“If I get my blog’s contents back, I’m fairly certain I will continue the blog elsewhere,” Cooper said. “If my 10 years of work, thousands of posts, six days a week effort, and my new GIF novel that I spent 7 months working on are totally lost, I think I might be too heartbroken and dispirited to continue.”\u003c/p>\n\u003cp>Cooper successfully fought Google in the media, getting stories in the \u003cem>\u003ca href=\"http://www.nytimes.com/2016/07/30/opinion/sunday/the-blog-that-disappeared.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, the \u003cem>\u003ca href=\"https://www.theguardian.com/books/2016/jul/14/dennis-cooper-google-censorship-dc-blog\" target=\"_blank\" rel=\"noopener\">Guardian\u003c/a>\u003c/em> and the \u003cem>\u003ca href=\"http://www.newyorker.com/culture/culture-desk/why-did-google-erase-dennis-coopers-beloved-literary-blog\" target=\"_blank\" rel=\"noopener\">New Yorker,\u003c/a>\u003c/em> as well as international publications. Also, the free speech advocacy group \u003ca href=\"https://pen.org/blog/pen-concerned-google-suspension-artist-blog\" target=\"_blank\" rel=\"noopener\">PEN America\u003c/a> has had his back for much of the fight and a \u003ca href=\"https://www.change.org/p/google-restore-dennis-cooper-s-blog-and-email\" target=\"_blank\" rel=\"noopener\">Change.org petition\u003c/a> garnered more than 4,000 signatures.\u003c/p>\n\u003cp>Less than a month later, Google’s lawyers reached out to Cooper’s attorney and \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1095110797242053&id=214073142012494\" target=\"_blank\" rel=\"noopener\">began working on a resolution\u003c/a>. On Friday, Aug. 26, Cooper, who lives in France, announced on his \u003ca href=\"https://www.facebook.com/Dennis-Coopers-Blog-214073142012494/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a> in the early morning that Google had agreed to \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\" target=\"_blank\" rel=\"noopener\">give him his blog back\u003c/a>.\u003c/p>\n\u003cp>“I am very, very happy to be able announce that the two month-long Google-related nightmare is over,” Cooper wrote.\u003c/p>\n\u003cblockquote>\u003cp>“The gist: (1) My DC’s blog will restart in a new location on this coming Monday. Watch this space. I have the data for the archive of my disabled blog, but it’s not something that can be uploaded into the new blog intact. I will need to restore each post by hand, and since there are many thousands of posts, that restoration will happen very gradually over time. (2) I have the data for the 10 years of correspondence in my gmail account. (3) My GIF novel ‘Zac’s Freight Elevator’ has been rescued. It will be published as a free download this November. More details on that are forthcoming.”\u003c/p>\u003c/blockquote>\n\u003cp>\u003cb>Why did Google remove Cooper’s blog?\u003c/b>\u003c/p>\n\u003cp>Google was vague regarding Cooper’s blog, forcing Cooper and other commentators to speculate as to why the blog was removed. All pointed to the same thing: Cooper’s regular posts about ads for male prostitutes.\u003c/p>\n\u003cp>Cooper defends this content. “90-plus percent of my blog posts are about experimental art, writing, film, music, video games, amusement parks, etc. Nothing remotely controversial or objectionable,” Cooper said. “Twice a month I do a post that features profile texts I have taken from various websites where male escorts do their business, usually edited, to emphasize their accidental literary qualities and their emotionality. The escorts whose profiles I use are all adults, and any images I use in those posts aren’t pornographic at all and rarely even show genitalia.”\u003c/p>\n\u003cp>Thanks to the Internet archival website the Wayback Machine, we can see a few of these posts. It’s fair to say that Cooper might not be as vigilant as he should in terms of keeping graphic images off his site. (\u003ca href=\"https://web.archive.org/web/20091016193456/http://denniscooper-theweaklings.blogspot.com/\" target=\"_blank\" rel=\"noopener\">See for yourself\u003c/a>, but warning: NSFW)\u003c/p>\n\u003cp>Yet it’s Cooper’s willingness to spotlight touchy subjects like male prostitution that make him the writer he is today. Fearless with his subjects, Cooper was once called “the most dangerous writer in America” by the \u003cem>Village Voice\u003c/em> and “a master of transgressive literature” by the \u003cem>Guardian\u003c/em>.\u003c/p>\n\u003cp>But now Cooper knows the answer, and it’s nothing like he had initially thought. In his Facebook announcement, Cooper said Google removed his blog after someone reported that a picture posted on his blog back in 2006 featured child pornography.\u003c/p>\n\u003cblockquote>\u003cp>In 2006, I did one of those posts where I asked people to send me things they thought were sexy. I had forgotten all about that post until the other day, and I don’t remember what was in it. I do remember that, upon assembling the post, I realized there was some rather pornographic things therein that could potentially get my blog in trouble. So I set up that Self-Portrait Day on a separate page off the blog that could only be accessed on the blog through a link with an adult content warning.\u003c/p>\n\u003cp>According to Google, around the time my account was disabled, some unknown person came across this ten year-old page, thought one of the images on it constituted child pornography, and reported it to Google who immediately disabled my account. Now let me just say that I know there are people who don’t know me or my work well and think I’m some kind of ultra-transgressive shock-creating monster, but I completely assure you that if someone had sent me an image that I thought was child pornography, I would never have uploaded it, period.\u003c/p>\u003c/blockquote>\n\u003cp>Cooper spent months trying to convince Google to let him get into his blog and remove the offending image. He was refused time and time again. “What followed was about three weeks of discussions, negotiations, and so on,” Cooper said. “Finally, a week ago, Google suddenly announced that they were going to send me the data for the DC’s blog and my email account. They did, and that’s how and when the stand-off ended.”\u003c/p>\n\u003cp>Cooper says his blog will be up again by Monday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Read Cooper’s full statement on his Facebook page:\u003c/i>\u003cbr>\nhttps://www.facebook.com/permalink.php?story_fbid=1114019298684536&id=214073142012494\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Department of Homeland Security investigators said Thursday they are investigating the hack of Leslie Jones’ website that revealed several private details of the actress-comedian’s life.\u003c/p>\n\u003cp>U.S. Immigration and Customs Enforcement, part of Homeland Security Investigations, said Thursday that its New York office is investigating the hack that exposed the driver’s license, passport and intimate photos of the \u003cem>Saturday Night Live\u003c/em> star, along with hateful and racist images.\u003c/p>\n\u003cp>ICE Public Affairs Officer Rachael Yong Yow said the agency does not release information related to active investigations. Jones’ website was taken offline after the hack was exposed Wednesday.\u003c/p>\n\u003cp>The \u003cem>Ghostbusters\u003c/em> actress was also targeted on Twitter last month with a barrage of racial slurs and obscene photos. She called on the social networking service to do more to curb harassment, and Twitter banned several users as a result.\u003c/p>\n\u003cp>In recent years, Jennifer Lawrence, Scarlett Johansson, Mila Kunis, Christina Aguilera and Kate Upton have been among Hollywood actresses who’ve had stolen nude images of themselves posted online.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No charges have been filed against those who hacked and posted images of Lawrence, Upton and numerous other celebrities in a massive dump of intimate images of celebrities in August 2014.\u003c/p>\n\u003cp>Two men were recently convicted after federal prosecutors charged them with hacking into the accounts of several celebrities and stealing images and other personal information. However, neither of the men, Andrew Helton of Astoria, Oregon, or Ryan Collins of Lancaster, Pennsylvania, are suspected of posting the stolen images online.\u003c/p>\n\u003cp>Helton was sentenced to six months in federal prison in July, half of the sentence prosecutors had sought. Helton pleaded guilty to stealing 161 nude or explicit photos from 13 people, including unidentified celebrities, and said his arrest forced him to confront his mental health issues. He is due to report to prison in October.\u003c/p>\n\u003cp>Collins’ sentencing date has not been set.\u003c/p>\n\u003cp>Johansson, Kunis and Aguilera were hacked by a Florida man, Christopher Chaney, who used publicly available information to obtain access to the email accounts of more than 50 people in the entertainment industry. Chaney was sentenced to 10 years and remains in a low-security federal prison in Mississippi.\u003c/p>\n\u003cp>“I have been truly humiliated and embarrassed,” Johansson said in a tearful videotaped statement played in court before Chaney was sentenced to 10 years in federal prison in December 2012.\u003c/p>\n\u003cp>Private information and images of celebrities are frequent targets for hackers. In 2012 a site posted credit reports, Social Security numbers and other financial info on celebrities, including Jay Z and his wife Beyonce, Mel Gibson, Ashton Kutcher and many others.\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>\u003cp>Department of Homeland Security investigators said Thursday they are investigating the hack of Leslie Jones’ website that revealed several private details of the actress-comedian’s life.\u003c/p>\n\u003cp>U.S. Immigration and Customs Enforcement, part of Homeland Security Investigations, said Thursday that its New York office is investigating the hack that exposed the driver’s license, passport and intimate photos of the \u003cem>Saturday Night Live\u003c/em> star, along with hateful and racist images.\u003c/p>\n\u003cp>ICE Public Affairs Officer Rachael Yong Yow said the agency does not release information related to active investigations. Jones’ website was taken offline after the hack was exposed Wednesday.\u003c/p>\n\u003cp>The \u003cem>Ghostbusters\u003c/em> actress was also targeted on Twitter last month with a barrage of racial slurs and obscene photos. She called on the social networking service to do more to curb harassment, and Twitter banned several users as a result.\u003c/p>\n\u003cp>In recent years, Jennifer Lawrence, Scarlett Johansson, Mila Kunis, Christina Aguilera and Kate Upton have been among Hollywood actresses who’ve had stolen nude images of themselves posted online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No charges have been filed against those who hacked and posted images of Lawrence, Upton and numerous other celebrities in a massive dump of intimate images of celebrities in August 2014.\u003c/p>\n\u003cp>Two men were recently convicted after federal prosecutors charged them with hacking into the accounts of several celebrities and stealing images and other personal information. However, neither of the men, Andrew Helton of Astoria, Oregon, or Ryan Collins of Lancaster, Pennsylvania, are suspected of posting the stolen images online.\u003c/p>\n\u003cp>Helton was sentenced to six months in federal prison in July, half of the sentence prosecutors had sought. Helton pleaded guilty to stealing 161 nude or explicit photos from 13 people, including unidentified celebrities, and said his arrest forced him to confront his mental health issues. He is due to report to prison in October.\u003c/p>\n\u003cp>Collins’ sentencing date has not been set.\u003c/p>\n\u003cp>Johansson, Kunis and Aguilera were hacked by a Florida man, Christopher Chaney, who used publicly available information to obtain access to the email accounts of more than 50 people in the entertainment industry. Chaney was sentenced to 10 years and remains in a low-security federal prison in Mississippi.\u003c/p>\n\u003cp>“I have been truly humiliated and embarrassed,” Johansson said in a tearful videotaped statement played in court before Chaney was sentenced to 10 years in federal prison in December 2012.\u003c/p>\n\u003cp>Private information and images of celebrities are frequent targets for hackers. In 2012 a site posted credit reports, Social Security numbers and other financial info on celebrities, including Jay Z and his wife Beyonce, Mel Gibson, Ashton Kutcher and many others.\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": "Blowin' the Blues Bollywood-Style with Aki Kumar",
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"content": "\u003cp>Meet San Jose musician Aki Kumar today, and he’ll proudly introduce himself as “The Only Bombay Blues Man.”\u003c/p>\n\u003cp>But there was a time when Kumar, while making a name for himself on the Bay Area blues scene more than a decade ago, would intentionally downplay his Indian heritage. He wasn’t so forthright about immigrating from Bombay — now called Mumbai, and one of the world’s largest exporters of software engineers to the U.S. — to find a new life in America as a software engineer.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282764971″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I wanted to make a statement that I was a traditional blues man, so I wanted to be playing blues and have nobody even wonder where I came from,” says Kumar, 36, frontman and harmonica player for the Aki Kumar Blues Band.\u003c/p>\n\u003cfigure id=\"attachment_11979572\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/aki-front.jpg\" alt=\"The cover for 'Aki Goes to Bollywood' pays tribute to classic Indian cinema poster design.\" width=\"600\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-596x600.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Aki Goes to Bollywood’ pays tribute to classic Indian cinema poster design.\u003c/figcaption>\u003c/figure>\n\u003cp>But after more than a decade of playing with top-notch blues musicians and recording a rock-solid first album \u003cem>Don’t Hold Back\u003c/em> (which garnered widespread accolades from the \u003cem>Los Angeles Times\u003c/em> to Dan Aykroyd), Kumar is taking his love for the blues to unexpected places.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This month, he released his second album, \u003cem>Aki Goes to Bollywood\u003c/em>, a stylistic mashup of old songs from Indian blockbuster films of his childhood with Chicago-style blues. “It’s Mumbai meets Muddy Waters,” says Kumar, who reworked Hindi-language hits from big names in Indian pop music — Kishore Kumar, Mohammed Rafi, and Mukesh — and made them his own.\u003c/p>\n\u003cp>American blues fans are used to seeing their music evolve and take on new forms, but back home in India, Kumar notes, musical culture isn’t so malleable. As he worked on the arrangements for \u003cem>Aki Goes to Bollywood\u003c/em>, Kumar nervously sent rough mixes back home to his parents, both still living in India, whose love of music Kumar credits for planting the seeds of his musical career.\u003c/p>\n\u003cp>“It was terrifying in some ways. These songs are national treasures in India, sung by legends,” says Kumar. “But I think we pulled it off, and for me, it was the coming together of the music I discovered in the U.S. and my musical roots growing up.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Aki Goes to Bollywood’ is \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">out now\u003c/a>. Kumar also hosts a weekly blues jam session on Thursday nights at \u003ca href=\"http://littlelousbbq.com/\" target=\"_blank\" rel=\"noopener\">Little Lou’s BBQ\u003c/a> in Campbell. For more, see \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Meet San Jose musician Aki Kumar today, and he’ll proudly introduce himself as “The Only Bombay Blues Man.”\u003c/p>\n\u003cp>But there was a time when Kumar, while making a name for himself on the Bay Area blues scene more than a decade ago, would intentionally downplay his Indian heritage. He wasn’t so forthright about immigrating from Bombay — now called Mumbai, and one of the world’s largest exporters of software engineers to the U.S. — to find a new life in America as a software engineer.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/282764971″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/282764971″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I wanted to make a statement that I was a traditional blues man, so I wanted to be playing blues and have nobody even wonder where I came from,” says Kumar, 36, frontman and harmonica player for the Aki Kumar Blues Band.\u003c/p>\n\u003cfigure id=\"attachment_11979572\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11979572\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/aki-front.jpg\" alt=\"The cover for 'Aki Goes to Bollywood' pays tribute to classic Indian cinema poster design.\" width=\"600\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-400x403.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-596x600.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/aki-front-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The cover for ‘Aki Goes to Bollywood’ pays tribute to classic Indian cinema poster design.\u003c/figcaption>\u003c/figure>\n\u003cp>But after more than a decade of playing with top-notch blues musicians and recording a rock-solid first album \u003cem>Don’t Hold Back\u003c/em> (which garnered widespread accolades from the \u003cem>Los Angeles Times\u003c/em> to Dan Aykroyd), Kumar is taking his love for the blues to unexpected places.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This month, he released his second album, \u003cem>Aki Goes to Bollywood\u003c/em>, a stylistic mashup of old songs from Indian blockbuster films of his childhood with Chicago-style blues. “It’s Mumbai meets Muddy Waters,” says Kumar, who reworked Hindi-language hits from big names in Indian pop music — Kishore Kumar, Mohammed Rafi, and Mukesh — and made them his own.\u003c/p>\n\u003cp>American blues fans are used to seeing their music evolve and take on new forms, but back home in India, Kumar notes, musical culture isn’t so malleable. As he worked on the arrangements for \u003cem>Aki Goes to Bollywood\u003c/em>, Kumar nervously sent rough mixes back home to his parents, both still living in India, whose love of music Kumar credits for planting the seeds of his musical career.\u003c/p>\n\u003cp>“It was terrifying in some ways. These songs are national treasures in India, sung by legends,” says Kumar. “But I think we pulled it off, and for me, it was the coming together of the music I discovered in the U.S. and my musical roots growing up.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Aki Goes to Bollywood’ is \u003ca href=\"http://www.akikumar.com/store\" target=\"_blank\" rel=\"noopener\">out now\u003c/a>. Kumar also hosts a weekly blues jam session on Thursday nights at \u003ca href=\"http://littlelousbbq.com/\" target=\"_blank\" rel=\"noopener\">Little Lou’s BBQ\u003c/a> in Campbell. For more, see \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-are-there-so-few-opportunities-for-black-choreographers",
"title": "Why Aren't We Seeing More Work By Black Choreographers?",
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"content": "\u003cp>\u003cem>Angst\u003c/em> is the title of Kendra Kimbrough Barnes’ new piece for the summer season of the \u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a> (BCF), running Friday, Aug 26 through Sunday, Aug. 28 at Oakland’s Laney College. The dance was born from interviews of African American youth grappling with debilitating anxiety – at a time when fraught images of the violent deaths of young black men have rallied communities across America.\u003c/p>\n\u003cp>Barnes was the epitome of serenity as she took her dancers through rehearsal in an Oakland studio recently, shaping small, piercing gestures and big acrobatic lifts, and adding emotional color to movement. While \u003cem>Angst\u003c/em> will premiere in November, Barnes will preview an excerpt in this summer program.\u003c/p>\n\u003cfigure id=\"attachment_11955599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955599 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg\" alt=\"Kendra Kimbrough Dance Ensemble \" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656.jpg 1786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendra Kimbrough Dance Ensemble \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BCF includes artists from outside the Bay Area – this year there’s the \u003ca href=\"http://www.jazzantiqua.org/\" target=\"_blank\" rel=\"noopener\">JazzAntiqua Dance Ensemble\u003c/a> from Los Angeles – but focuses on presenting local talent. The event has built a loyal following over the 11 years of its existence, largely within the black community. But despite this success, developing broader audiences remains a challenge — not just for this festival, but also for black choreographers and companies around the U.S.\u003c/p>\n\u003cp>\u003cstrong>A slim pipeline\u003c/strong>\u003c/p>\n\u003cp>Across the nation, a sprinkling of \u003ca href=\"http://nbaf.org\" target=\"_blank\" rel=\"noopener\">black arts festivals\u003c/a> and a few presenting organizations offer strong support for black choreographers. These include \u003ca href=\"http://www.danspaceproject.org\" target=\"_blank\" rel=\"noopener\">Danspace Project\u003c/a> and the \u003ca href=\"http://www.joyce.org\" target=\"_blank\" rel=\"noopener\">Joyce Theatre\u003c/a> in New York, and \u003ca href=\"https://ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"http://www.counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> in San Francisco. Plus, \u003ca href=\"https://www.linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> and the two largest predominantly black dance companies, \u003ca href=\"https://www.alvinailey.org\" target=\"_blank\" rel=\"noopener\">Alvin Ailey American Dance Theater\u003c/a> and \u003ca href=\"http://www.dancetheatreofharlem.org\" target=\"_blank\" rel=\"noopener\">Dance Theatre of Harlem\u003c/a> have produced a few well-known choreographers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet outside the hip hop world, the pipeline of black choreographers remains slim, though the number is growing. The \u003ca href=\"http://www.iabdassociation.org\" target=\"_blank\" rel=\"noopener\">International Association of Blacks in Dance (IABD)\u003c/a>, a Washington D.C.-based advocacy group, expects the number of black choreographers in the upcoming edition of its directory to rise to around 100 in 2017, up from 36 in 1995.\u003c/p>\n\u003cp>From the pioneering days of Alvin Ailey, Bill T. Jones, Alonzo King, Blondell Cummings, Dianne McIntyre, Jawole Willa Jo Zollar and others in the mid- to late-20th century, growth in opportunities to see the work of black dance-makers does not seem to have kept pace with the innovation that is going on in the dance world at large.\u003c/p>\n\u003cp>“We’re having more conversations about black dancers and their exclusion from mainstream and avant garde dance,” said \u003ca href=\"http://www.abrahaminmotion.org\" target=\"_blank\" rel=\"noopener\">Kyle Abraham\u003c/a>, a fêted African American choreographer, and one of several artists I interviewed for this story. “Before, there was only an ‘Ailey box.’ It’s less specific of a box now, though still limited.” In his own work, Abraham fuses elements of hip-hop, jazz, African dance idioms, and modern dance to create a fine, bitter heat.\u003c/p>\n\u003cfigure id=\"attachment_11955603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955603 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg\" alt=\"Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \u003ccite>(Photo: Joe Lambie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festivals remain a critical platform for the exposure of African American choreographers, as they have for \u003ca href=\"http://www.camilleabrown.org\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>, who is recognized for her socially conscious work. Yet she chafes at being labeled \u003ca href=\"https://youtu.be/bln9K5Xm3sQ?t=15m17s\" target=\"_blank\" rel=\"noopener\">a black choreographer\u003c/a>. “Limitations are placed on choreographers of color right out of the gate,” Brown said. “We are also still dealing with the ‘one black dance company on our roster a year’ mentality from some presenters. ”\u003c/p>\n\u003cp>Deborah Vaughan, who in 1972 co-founded \u003ca href=\"https://www.dimensionsdance.org\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://dancersgroup.org/2013/09/dimensions-dance-theater-four-decades-strong/\" target=\"_blank\" rel=\"noopener\">one of the oldest African American dance companies on the West Coast\u003c/a>, agrees. “One of the things that really upset me was to be put in a box,” Vaughan said. “We’re black, so we should do African dance.” Dimensions brings an excerpt from \u003cem>The Town on Notice\u003c/em> to BCF this season, a project inspired by community reactions to the gentrification of Oakland.\u003c/p>\n\u003cp>Some choreographers are looking beyond festivals to address the issue. Jawole Willa Jo Zollar, a Brooklyn-based choreographer and the leader of the dance collective \u003ca href=\"https://www.urbanbushwomen.org\" target=\"_blank\" rel=\"noopener\">Urban Bush Women (UBW)\u003c/a>, recently launched a \u003ca href=\"http://www.urbanbushwomencenter.org\" target=\"_blank\" rel=\"noopener\">choreographic center\u003c/a> to nurture black women choreographers.\u003c/p>\n\u003cfigure id=\"attachment_11955601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955601 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg\" alt=\"Dimensions Dance Theater in 'The Town on Notice'. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1920x1140.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-960x570.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater in ‘The Town on Notice’. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \u003ccite>(Photo: Edward Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the odds are still heavily stacked against choreographers of color. Choreographer \u003ca href=\"http://www.emiadance.org/#!director/c14ag\" target=\"_blank\" rel=\"noopener\">Fredrick Earl Mosley\u003c/a>, whose popular \u003ca href=\"https://vimeo.com/129247344\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> have united veterans and newcomers, calls out grant application processes that he said are, “inaccessible to artists who are not considered ‘mainstream.'” Mosley said that funding bodies are often just looking for choreographers who are already successful.\u003c/p>\n\u003cp>\u003cstrong>Forbidding world of classical ballet\u003c/strong>\u003c/p>\n\u003cp>While some African American choreographers have made headway in the contemporary dance field, the world of classical ballet is even more forbidding to black artists. Of the three largest American ballet companies, \u003ca href=\"http://www.abt.org/default.aspx\" target=\"_blank\" rel=\"noopener\">American Ballet Theatre\u003c/a> and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> last staged work by African American choreographers in 2000 (Christian Holder) and 1994 (Donald McKayle) respectively. And four black choreographers have come through the portals of \u003ca href=\"https://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>’s eminent Choreographic Institute, which has offered two-week residencies to about 150 up-and-comers since its founding in 2000.\u003c/p>\n\u003cp>Alonzo King staked a singular outpost in the industry with his establishment of \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">LINES Ballet \u003c/a>in San Francisco in 1984. The dance pioneer has gone on to influence a number of choreographers of color.\u003c/p>\n\u003cp>Partly inspired by King, newcomer Jeremy McQueen is creating ballets rooted in black history and in the African American experience. McQueen’s collaborative, known as the \u003ca href=\"http://www.blackirisproject.org/#top\" target=\"_blank\" rel=\"noopener\">Black Iris Project\u003c/a>, just unfurled a triple bill of new work, all grounded in classical ballet, at \u003ca href=\"http://artsbeat.blogs.nytimes.com/2016/02/25/jeremy-mcqueens-ballet-collective-to-foster-black-works/\" target=\"_blank\" rel=\"noopener\">New York Live Arts\u003c/a>, which drew sizeable non-dance audiences. \u003cem>Madiba\u003c/em>, McQueen’s ballet inspired by the life of Nelson Mandela, will be featured in \u003cem>\u003ca href=\"https://www.kennedy-center.org/calendar/event/BRBSF\" target=\"_blank\" rel=\"noopener\">Ballet Across America\u003c/a>\u003c/em> next April, a Kennedy Center program curated by ballet superstars Misty Copeland and Justin Peck.\u003c/p>\n\u003cfigure id=\"attachment_11955602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955602 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg\" alt=\"David Boyce, Byb Chanel Bibene and Chris Evans in 'Reconstruction Study #1' \" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-1180x706.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-960x574.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915.jpg 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Boyce, Byb Chanel Bibene and Chris Evans in ‘Reconstruction Study #1’ \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LINES alumnus Gregory Dawson founded his own company, \u003ca href=\"http://www.dawsondancesf.org\" target=\"_blank\" rel=\"noopener\">dawsondancesf\u003c/a>, in 2007. He unveils a new work at BCF this season, inspired by the life of 18th century castrato singer Farinelli. Dawson danced with LINES for nearly 20 years. He says he has been inspired by King’s philosophy and process, and acknowledges that he’s borrowed formal elements from King’s vocabulary, too. “Consciously or not, I’ve borrowed or inherited an aesthetic which is discernibly within Alonzo’s lineage,” Dawson said.\u003c/p>\n\u003cp>\u003cstrong>Come for the dance. Stay for the struggle.\u003c/strong>\u003c/p>\n\u003cp>A few weeks before BCF, I sat in on a rehearsal for \u003cem>\u003ca href=\"https://evansmousike.wordpress.com/ark-of-bones/\" target=\"_blank\" rel=\"noopener\">Reconstruction Study #1\u003c/a> \u003c/em>at Richmond’s MilkBar. The work-in-progress is a collaboration between dancer-musician \u003ca href=\"https://evansmousike.wordpress.com\" target=\"_blank\" rel=\"noopener\">Chris Evans\u003c/a>, Congolese dance artist Byb Chanel Bibene, and musician-composer David Boyce. It’s based on several stories including that of Jim Coble, an African American man who killed ten white people in Broken Arrow, Oklahoma in the early 20th century.\u003c/p>\n\u003cp>Evans suggested to her partners that they kick off rehearsal with improv for a section of the piece that deals with rage. Boyce’s saxophone waxed mournful then threatening, while Evans glided seamlessly between floor and cello, conjuring an ominous thrumming. She and Bibene traced their own tortuous paths on the studio floor, rarely looking at each other even through the occasional tense moments of contact, yet somehow intimately connected.\u003c/p>\n\u003cp>This happened to be the evening when America was recovering from the blistering “Make America Safe Again” tirades of the Republican National Convention, girding for the next slogan attack.\u003c/p>\n\u003cp>“Talking about rage, did you watch the convention last night?” Boyce said to his colleagues. This stuff is classic.”\u003c/p>\n\u003cp>“Does this make you think about leaving America?” Evans asked Bibene.\u003c/p>\n\u003cp>“No, of course not,” replied Bibene, who is a survivor of the civil wars that devastated the Congo in the 1990s. “This country has laws. You stay for the struggle.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival Summer Series\u003c/a> runs through Sunday, Aug. 28 at Laney College, Oakland.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dimensions Dance Theater revives \u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Project Panther\u003c/a> on Saturday, Oct. 15 at the Malonga Casquelourd Center for the Arts in Oakland on the occasion of the 50th anniversary of the founding of the Black Panther Party.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Urban Bush Women brings \u003ca href=\"https://www.fordtheatres.org/calendar/ford-signature-series-urban-bush-women-and-contra-tiempo\" target=\"_blank\" rel=\"noopener\">Walking with ‘Trane\u003c/a>, an extended riff on the legacy of the legendary John Coltrane, to the Ford Theatres in Los Angeles on Saturday, Aug. 27.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Angst\u003c/em> is the title of Kendra Kimbrough Barnes’ new piece for the summer season of the \u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a> (BCF), running Friday, Aug 26 through Sunday, Aug. 28 at Oakland’s Laney College. The dance was born from interviews of African American youth grappling with debilitating anxiety – at a time when fraught images of the violent deaths of young black men have rallied communities across America.\u003c/p>\n\u003cp>Barnes was the epitome of serenity as she took her dancers through rehearsal in an Oakland studio recently, shaping small, piercing gestures and big acrobatic lifts, and adding emotional color to movement. While \u003cem>Angst\u003c/em> will premiere in November, Barnes will preview an excerpt in this summer program.\u003c/p>\n\u003cfigure id=\"attachment_11955599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955599 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg\" alt=\"Kendra Kimbrough Dance Ensemble \" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656.jpg 1786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendra Kimbrough Dance Ensemble \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BCF includes artists from outside the Bay Area – this year there’s the \u003ca href=\"http://www.jazzantiqua.org/\" target=\"_blank\" rel=\"noopener\">JazzAntiqua Dance Ensemble\u003c/a> from Los Angeles – but focuses on presenting local talent. The event has built a loyal following over the 11 years of its existence, largely within the black community. But despite this success, developing broader audiences remains a challenge — not just for this festival, but also for black choreographers and companies around the U.S.\u003c/p>\n\u003cp>\u003cstrong>A slim pipeline\u003c/strong>\u003c/p>\n\u003cp>Across the nation, a sprinkling of \u003ca href=\"http://nbaf.org\" target=\"_blank\" rel=\"noopener\">black arts festivals\u003c/a> and a few presenting organizations offer strong support for black choreographers. These include \u003ca href=\"http://www.danspaceproject.org\" target=\"_blank\" rel=\"noopener\">Danspace Project\u003c/a> and the \u003ca href=\"http://www.joyce.org\" target=\"_blank\" rel=\"noopener\">Joyce Theatre\u003c/a> in New York, and \u003ca href=\"https://ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"http://www.counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> in San Francisco. Plus, \u003ca href=\"https://www.linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> and the two largest predominantly black dance companies, \u003ca href=\"https://www.alvinailey.org\" target=\"_blank\" rel=\"noopener\">Alvin Ailey American Dance Theater\u003c/a> and \u003ca href=\"http://www.dancetheatreofharlem.org\" target=\"_blank\" rel=\"noopener\">Dance Theatre of Harlem\u003c/a> have produced a few well-known choreographers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet outside the hip hop world, the pipeline of black choreographers remains slim, though the number is growing. The \u003ca href=\"http://www.iabdassociation.org\" target=\"_blank\" rel=\"noopener\">International Association of Blacks in Dance (IABD)\u003c/a>, a Washington D.C.-based advocacy group, expects the number of black choreographers in the upcoming edition of its directory to rise to around 100 in 2017, up from 36 in 1995.\u003c/p>\n\u003cp>From the pioneering days of Alvin Ailey, Bill T. Jones, Alonzo King, Blondell Cummings, Dianne McIntyre, Jawole Willa Jo Zollar and others in the mid- to late-20th century, growth in opportunities to see the work of black dance-makers does not seem to have kept pace with the innovation that is going on in the dance world at large.\u003c/p>\n\u003cp>“We’re having more conversations about black dancers and their exclusion from mainstream and avant garde dance,” said \u003ca href=\"http://www.abrahaminmotion.org\" target=\"_blank\" rel=\"noopener\">Kyle Abraham\u003c/a>, a fêted African American choreographer, and one of several artists I interviewed for this story. “Before, there was only an ‘Ailey box.’ It’s less specific of a box now, though still limited.” In his own work, Abraham fuses elements of hip-hop, jazz, African dance idioms, and modern dance to create a fine, bitter heat.\u003c/p>\n\u003cfigure id=\"attachment_11955603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955603 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg\" alt=\"Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \u003ccite>(Photo: Joe Lambie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festivals remain a critical platform for the exposure of African American choreographers, as they have for \u003ca href=\"http://www.camilleabrown.org\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>, who is recognized for her socially conscious work. Yet she chafes at being labeled \u003ca href=\"https://youtu.be/bln9K5Xm3sQ?t=15m17s\" target=\"_blank\" rel=\"noopener\">a black choreographer\u003c/a>. “Limitations are placed on choreographers of color right out of the gate,” Brown said. “We are also still dealing with the ‘one black dance company on our roster a year’ mentality from some presenters. ”\u003c/p>\n\u003cp>Deborah Vaughan, who in 1972 co-founded \u003ca href=\"https://www.dimensionsdance.org\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://dancersgroup.org/2013/09/dimensions-dance-theater-four-decades-strong/\" target=\"_blank\" rel=\"noopener\">one of the oldest African American dance companies on the West Coast\u003c/a>, agrees. “One of the things that really upset me was to be put in a box,” Vaughan said. “We’re black, so we should do African dance.” Dimensions brings an excerpt from \u003cem>The Town on Notice\u003c/em> to BCF this season, a project inspired by community reactions to the gentrification of Oakland.\u003c/p>\n\u003cp>Some choreographers are looking beyond festivals to address the issue. Jawole Willa Jo Zollar, a Brooklyn-based choreographer and the leader of the dance collective \u003ca href=\"https://www.urbanbushwomen.org\" target=\"_blank\" rel=\"noopener\">Urban Bush Women (UBW)\u003c/a>, recently launched a \u003ca href=\"http://www.urbanbushwomencenter.org\" target=\"_blank\" rel=\"noopener\">choreographic center\u003c/a> to nurture black women choreographers.\u003c/p>\n\u003cfigure id=\"attachment_11955601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955601 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg\" alt=\"Dimensions Dance Theater in 'The Town on Notice'. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1920x1140.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-960x570.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater in ‘The Town on Notice’. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \u003ccite>(Photo: Edward Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the odds are still heavily stacked against choreographers of color. Choreographer \u003ca href=\"http://www.emiadance.org/#!director/c14ag\" target=\"_blank\" rel=\"noopener\">Fredrick Earl Mosley\u003c/a>, whose popular \u003ca href=\"https://vimeo.com/129247344\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> have united veterans and newcomers, calls out grant application processes that he said are, “inaccessible to artists who are not considered ‘mainstream.'” Mosley said that funding bodies are often just looking for choreographers who are already successful.\u003c/p>\n\u003cp>\u003cstrong>Forbidding world of classical ballet\u003c/strong>\u003c/p>\n\u003cp>While some African American choreographers have made headway in the contemporary dance field, the world of classical ballet is even more forbidding to black artists. Of the three largest American ballet companies, \u003ca href=\"http://www.abt.org/default.aspx\" target=\"_blank\" rel=\"noopener\">American Ballet Theatre\u003c/a> and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> last staged work by African American choreographers in 2000 (Christian Holder) and 1994 (Donald McKayle) respectively. And four black choreographers have come through the portals of \u003ca href=\"https://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>’s eminent Choreographic Institute, which has offered two-week residencies to about 150 up-and-comers since its founding in 2000.\u003c/p>\n\u003cp>Alonzo King staked a singular outpost in the industry with his establishment of \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">LINES Ballet \u003c/a>in San Francisco in 1984. The dance pioneer has gone on to influence a number of choreographers of color.\u003c/p>\n\u003cp>Partly inspired by King, newcomer Jeremy McQueen is creating ballets rooted in black history and in the African American experience. McQueen’s collaborative, known as the \u003ca href=\"http://www.blackirisproject.org/#top\" target=\"_blank\" rel=\"noopener\">Black Iris Project\u003c/a>, just unfurled a triple bill of new work, all grounded in classical ballet, at \u003ca href=\"http://artsbeat.blogs.nytimes.com/2016/02/25/jeremy-mcqueens-ballet-collective-to-foster-black-works/\" target=\"_blank\" rel=\"noopener\">New York Live Arts\u003c/a>, which drew sizeable non-dance audiences. \u003cem>Madiba\u003c/em>, McQueen’s ballet inspired by the life of Nelson Mandela, will be featured in \u003cem>\u003ca href=\"https://www.kennedy-center.org/calendar/event/BRBSF\" target=\"_blank\" rel=\"noopener\">Ballet Across America\u003c/a>\u003c/em> next April, a Kennedy Center program curated by ballet superstars Misty Copeland and Justin Peck.\u003c/p>\n\u003cfigure id=\"attachment_11955602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955602 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg\" alt=\"David Boyce, Byb Chanel Bibene and Chris Evans in 'Reconstruction Study #1' \" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-1180x706.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-960x574.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915.jpg 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Boyce, Byb Chanel Bibene and Chris Evans in ‘Reconstruction Study #1’ \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LINES alumnus Gregory Dawson founded his own company, \u003ca href=\"http://www.dawsondancesf.org\" target=\"_blank\" rel=\"noopener\">dawsondancesf\u003c/a>, in 2007. He unveils a new work at BCF this season, inspired by the life of 18th century castrato singer Farinelli. Dawson danced with LINES for nearly 20 years. He says he has been inspired by King’s philosophy and process, and acknowledges that he’s borrowed formal elements from King’s vocabulary, too. “Consciously or not, I’ve borrowed or inherited an aesthetic which is discernibly within Alonzo’s lineage,” Dawson said.\u003c/p>\n\u003cp>\u003cstrong>Come for the dance. Stay for the struggle.\u003c/strong>\u003c/p>\n\u003cp>A few weeks before BCF, I sat in on a rehearsal for \u003cem>\u003ca href=\"https://evansmousike.wordpress.com/ark-of-bones/\" target=\"_blank\" rel=\"noopener\">Reconstruction Study #1\u003c/a> \u003c/em>at Richmond’s MilkBar. The work-in-progress is a collaboration between dancer-musician \u003ca href=\"https://evansmousike.wordpress.com\" target=\"_blank\" rel=\"noopener\">Chris Evans\u003c/a>, Congolese dance artist Byb Chanel Bibene, and musician-composer David Boyce. It’s based on several stories including that of Jim Coble, an African American man who killed ten white people in Broken Arrow, Oklahoma in the early 20th century.\u003c/p>\n\u003cp>Evans suggested to her partners that they kick off rehearsal with improv for a section of the piece that deals with rage. Boyce’s saxophone waxed mournful then threatening, while Evans glided seamlessly between floor and cello, conjuring an ominous thrumming. She and Bibene traced their own tortuous paths on the studio floor, rarely looking at each other even through the occasional tense moments of contact, yet somehow intimately connected.\u003c/p>\n\u003cp>This happened to be the evening when America was recovering from the blistering “Make America Safe Again” tirades of the Republican National Convention, girding for the next slogan attack.\u003c/p>\n\u003cp>“Talking about rage, did you watch the convention last night?” Boyce said to his colleagues. This stuff is classic.”\u003c/p>\n\u003cp>“Does this make you think about leaving America?” Evans asked Bibene.\u003c/p>\n\u003cp>“No, of course not,” replied Bibene, who is a survivor of the civil wars that devastated the Congo in the 1990s. “This country has laws. You stay for the struggle.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival Summer Series\u003c/a> runs through Sunday, Aug. 28 at Laney College, Oakland.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dimensions Dance Theater revives \u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Project Panther\u003c/a> on Saturday, Oct. 15 at the Malonga Casquelourd Center for the Arts in Oakland on the occasion of the 50th anniversary of the founding of the Black Panther Party.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The City of Oakland has appointed \u003ca href=\"http://creativetime.org/summit/author/roberto-bedoya/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya \u003c/a>as its first Cultural Affairs Manager, a job that will come with a host of challenges.\u003c/p>\n\u003cp>Bedoya was born in Union City, but he comes to Oakland after nine years as executive director of the \u003ca href=\"http://artsfoundtucson.org/\" target=\"_blank\" rel=\"noopener\">Tucson Pima (Arizona) Arts Council (TPAC)\u003c/a>, where he developed a reputation as a leader in \u003ca href=\"http://www.giarts.org/article/placemaking-and-politics-belonging-and-dis-belonging\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>, the trendy term for the way a healthy and diverse arts community makes for a vibrant city.\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf says he’s well prepared for the job. “To have someone who recognizes that art is the most powerful force for holding hard conversations,” Schaaf said in a phone interview, “for envisioning the change that we want, because change is inevitable in cities.”\u003c/p>\n\u003cp>When he starts his job in early September, Bedoya will be have to complete \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak057287.pdf\" target=\"_blank\" rel=\"noopener\">a cultural plan\u003c/a>, including how to keep artists and arts organizations from being priced out of Oakland, and deciding whether Oakland should restore its \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/EconomicDevelopment/o/CulturalArtsMarketing/DOWD008319\" target=\"_blank\" rel=\"noopener\">arts commission\u003c/a>.\u003c/p>\n\u003cp>Bedoya will oversee $900,000 in annual grants to local arts organization and a $1 million-bond fund for public art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has appointed \u003ca href=\"http://creativetime.org/summit/author/roberto-bedoya/\" target=\"_blank\" rel=\"noopener\">Roberto Bedoya \u003c/a>as its first Cultural Affairs Manager, a job that will come with a host of challenges.\u003c/p>\n\u003cp>Bedoya was born in Union City, but he comes to Oakland after nine years as executive director of the \u003ca href=\"http://artsfoundtucson.org/\" target=\"_blank\" rel=\"noopener\">Tucson Pima (Arizona) Arts Council (TPAC)\u003c/a>, where he developed a reputation as a leader in \u003ca href=\"http://www.giarts.org/article/placemaking-and-politics-belonging-and-dis-belonging\" target=\"_blank\" rel=\"noopener\">creative placemaking\u003c/a>, the trendy term for the way a healthy and diverse arts community makes for a vibrant city.\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf says he’s well prepared for the job. “To have someone who recognizes that art is the most powerful force for holding hard conversations,” Schaaf said in a phone interview, “for envisioning the change that we want, because change is inevitable in cities.”\u003c/p>\n\u003cp>When he starts his job in early September, Bedoya will be have to complete \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak057287.pdf\" target=\"_blank\" rel=\"noopener\">a cultural plan\u003c/a>, including how to keep artists and arts organizations from being priced out of Oakland, and deciding whether Oakland should restore its \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/EconomicDevelopment/o/CulturalArtsMarketing/DOWD008319\" target=\"_blank\" rel=\"noopener\">arts commission\u003c/a>.\u003c/p>\n\u003cp>Bedoya will oversee $900,000 in annual grants to local arts organization and a $1 million-bond fund for public art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A U.S. judge said Tuesday that a celebrated artist was right when he insisted he didn’t paint a work now owned by a retired prison worker, a finding that likely ensures the piece will now be worth a fraction of the previous estimated value of $10 million or more.\u003c/p>\n\u003cp>The ruling came at the end of an unusual bench trial in Chicago that pitted Scottish-born Peter Doig against Canadian Robert Fletcher, who paid just $100 in the 1970s for the desert landscape painting and had hoped for a windfall of millions of dollars in retirement.\u003c/p>\n\u003cp>Authenticity disputes typically arise long after an artist dies, not when the artist is alive and flatly denies a work is his. This case created a stir in the art world, where the principle is widely accepted that artists’ word on whether a work is theirs or not is final.\u003c/p>\n\u003cp>Presiding Judge Gary Feinerman spent nearly two hours explaining his decision and going through evidence, from high school yearbooks to prison records, all of which demonstrated, he said, that Doig “absolutely did not paint the work in question.”\u003c/p>\n\u003cp>In a written statement after the verdict entirely in his favor, Doig, 57, said “justice prevailed, but it was way too long in coming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That a living artist has to defend the authorship of his own work should never have come to pass,” he said.\u003c/p>\n\u003cp>The trial stemmed from Fletcher’s 2013 lawsuit in Chicago, where one auctioneer was located, in which he sought millions in damages after the painting’s projected sale price tanked following Doig’s disavowal of it. The judge ruled Fletcher wasn’t entitled to any money.\u003c/p>\n\u003cfigure id=\"attachment_11975566\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg\" alt=\"Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig. They accused him of falsely denying authorship of a painting. \" width=\"640\" height=\"360\" class=\"size-large wp-image-11975566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig.\u003cbr>They accused him of falsely denying authorship of a painting. \u003ccite>(Photo: Nova Safo/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, the judge said, showed this was a case of imperfect memories, coincidences and mistaken identity. He said it was a different Peter Doige, who spelled his name with an “e,” who created the artwork. Feinerman rejected the idea that Doig, the renowned artist, and Doige were the same person.\u003c/p>\n\u003cp>Fletcher, 62, testified that he bought the painting of a desert landscape while Doig was serving prison time in Canada’s Thunder Bay Correctional Center. But Feinerman said it was Doige — who was several years older and painted at the time — who was briefly in prison.\u003c/p>\n\u003cp>After Tuesday’s decision, when a reporter asked Fletcher if he was still convinced the man he bought the painting from in prison and the internationally acclaimed artist were one and the same despite the judge’s conclusion, he responded: “I am.”\u003c/p>\n\u003cp>Doig, who attended the trial last week but listened to the verdict by telephone, sharply criticized Fletcher’s lawsuit.\u003c/p>\n\u003cp>“That the plaintiffs in this case have shamelessly tried to deny another artist his legacy for money is despicable,” he said.\u003c/p>\n\u003cp>Fletcher’s attorney, William Zieske, said the suit was brought in good faith and an appeal is possible.\u003c/p>\n\u003cp>A key witness for Doig was a Canadian woman, Marilyn Doige Bovard, who told the court the painting was by her now-deceased brother, Peter Doige. She confirmed her brother had been in prison where Fletcher worked in the mid to late ’70s.\u003c/p>\n\u003cp>Doig, who now lives in Trinidad, said he’s never been in prison. While he lived in Canada at the time, he said he was attending school in Toronto, 500 miles from the prison. Feinerman said yearbooks proved Doig was, in fact, in Toronto when Fletcher said he was in prison.\u003c/p>\n\u003cp>Doig’s works are prized for their ethereal scenes often with subjects appearing as ghostly figures. His painting of someone slumped over a canoe, entitled “Swamped,” sold last year at Christie’s for $25.9 million, according to the auction company’s website.\u003c/p>\n\u003cp>Some artists worried the case could set a bad precedent and lead to similar lawsuits, said Amy Adler, who teaches art and the law at New York University School of Law.\u003c/p>\n\u003cp>“This case inspires terror in some artists who fear they could end up in court for denying that a work they did not do isn’t theirs,” Adler said.\u003c/p>\n\u003cp>___\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>\u003cp>A U.S. judge said Tuesday that a celebrated artist was right when he insisted he didn’t paint a work now owned by a retired prison worker, a finding that likely ensures the piece will now be worth a fraction of the previous estimated value of $10 million or more.\u003c/p>\n\u003cp>The ruling came at the end of an unusual bench trial in Chicago that pitted Scottish-born Peter Doig against Canadian Robert Fletcher, who paid just $100 in the 1970s for the desert landscape painting and had hoped for a windfall of millions of dollars in retirement.\u003c/p>\n\u003cp>Authenticity disputes typically arise long after an artist dies, not when the artist is alive and flatly denies a work is his. This case created a stir in the art world, where the principle is widely accepted that artists’ word on whether a work is theirs or not is final.\u003c/p>\n\u003cp>Presiding Judge Gary Feinerman spent nearly two hours explaining his decision and going through evidence, from high school yearbooks to prison records, all of which demonstrated, he said, that Doig “absolutely did not paint the work in question.”\u003c/p>\n\u003cp>In a written statement after the verdict entirely in his favor, Doig, 57, said “justice prevailed, but it was way too long in coming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That a living artist has to defend the authorship of his own work should never have come to pass,” he said.\u003c/p>\n\u003cp>The trial stemmed from Fletcher’s 2013 lawsuit in Chicago, where one auctioneer was located, in which he sought millions in damages after the painting’s projected sale price tanked following Doig’s disavowal of it. The judge ruled Fletcher wasn’t entitled to any money.\u003c/p>\n\u003cfigure id=\"attachment_11975566\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg\" alt=\"Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig. They accused him of falsely denying authorship of a painting. \" width=\"640\" height=\"360\" class=\"size-large wp-image-11975566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Doig-suit-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Attorney William Zieske (left) and his client Robert Fletcher (right) speak to reporters at the US federal courthouse in Chicago on August 23, 2016, after losing their lawsuit against artist Peter Doig.\u003cbr>They accused him of falsely denying authorship of a painting. \u003ccite>(Photo: Nova Safo/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The evidence, the judge said, showed this was a case of imperfect memories, coincidences and mistaken identity. He said it was a different Peter Doige, who spelled his name with an “e,” who created the artwork. Feinerman rejected the idea that Doig, the renowned artist, and Doige were the same person.\u003c/p>\n\u003cp>Fletcher, 62, testified that he bought the painting of a desert landscape while Doig was serving prison time in Canada’s Thunder Bay Correctional Center. But Feinerman said it was Doige — who was several years older and painted at the time — who was briefly in prison.\u003c/p>\n\u003cp>After Tuesday’s decision, when a reporter asked Fletcher if he was still convinced the man he bought the painting from in prison and the internationally acclaimed artist were one and the same despite the judge’s conclusion, he responded: “I am.”\u003c/p>\n\u003cp>Doig, who attended the trial last week but listened to the verdict by telephone, sharply criticized Fletcher’s lawsuit.\u003c/p>\n\u003cp>“That the plaintiffs in this case have shamelessly tried to deny another artist his legacy for money is despicable,” he said.\u003c/p>\n\u003cp>Fletcher’s attorney, William Zieske, said the suit was brought in good faith and an appeal is possible.\u003c/p>\n\u003cp>A key witness for Doig was a Canadian woman, Marilyn Doige Bovard, who told the court the painting was by her now-deceased brother, Peter Doige. She confirmed her brother had been in prison where Fletcher worked in the mid to late ’70s.\u003c/p>\n\u003cp>Doig, who now lives in Trinidad, said he’s never been in prison. While he lived in Canada at the time, he said he was attending school in Toronto, 500 miles from the prison. Feinerman said yearbooks proved Doig was, in fact, in Toronto when Fletcher said he was in prison.\u003c/p>\n\u003cp>Doig’s works are prized for their ethereal scenes often with subjects appearing as ghostly figures. His painting of someone slumped over a canoe, entitled “Swamped,” sold last year at Christie’s for $25.9 million, according to the auction company’s website.\u003c/p>\n\u003cp>Some artists worried the case could set a bad precedent and lead to similar lawsuits, said Amy Adler, who teaches art and the law at New York University School of Law.\u003c/p>\n\u003cp>“This case inspires terror in some artists who fear they could end up in court for denying that a work they did not do isn’t theirs,” Adler said.\u003c/p>\n\u003cp>___\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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"slug": "john-lennons-deportation-fight-paved-way-for-obamas-deferred-action-policy",
"title": "John Lennon's Deportation Fight Paved Way for Obama's Deferred Action Policy",
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"headTitle": "John Lennon’s Deportation Fight Paved Way for Obama’s Deferred Action Policy | KQED",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/490957803/491103757\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Back in 1972, John Lennon hired Leon Wildes, an immigration attorney who had no idea who he was.\u003c/p>\n\u003cp>Wildes’ son, Michael, remembers his father coming home to tell his mother about their first meeting.\u003c/p>\n\u003cp>“And he said, ‘A singer by the name of Jack Lemon and his wife Yoko Moto,’ ” Michael recalls. “My mom looked at him like he wasn’t well. ‘Are you talking about the Beatles and John Lennon?’ My father said, ‘Yeah!’ ”\u003c/p>\n\u003cp>Over the next five years, Lennon and Wildes often were caught on camera outside immigration court in New York City — as well as on late-night talk shows, such as NBC’s \u003cem>The Tomorrow Show With Tom Snyder\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \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=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What is your status in the country right now?” Snyder asked Lennon during a show taping in 1975.\u003c/p>\n\u003cp>“That’s why Leon’s here,” Lennon answers. He glances over at Leon Wildes sitting across from him on a dark TV set. “What, what am I, Leon?”\u003c/p>\n\u003cp>“Well, John was charged with being deportable in the U.S. for being an overstay,” says Wildes, who has written a new book about Lennon’s deportation case called \u003cem>John Lennon vs. The U.S.A\u003c/em>.\u003c/p>\n\u003cp>In other words, Lennon was on a tourist visa that expired while he was helping his wife, Yoko Ono, with a custody battle over her daughter from a previous marriage.\u003c/p>\n\u003cp>So Wildes got that visa extended. But immigration officials gave them only just over month before Lennon would have to leave. Later, Wildes put in an application for a green card, which was denied.\u003c/p>\n\u003cp>But Lennon still wanted to stay in America.\u003c/p>\n\u003cp>“I like to be here because this is where the music came from,” Lennon said. “This is what influenced my whole life and got me where I am today.”\u003c/p>\n\u003cp>Wildes appealed the denial.\u003c/p>\n\u003cp>But FBI files show that the Nixon administration wanted Lennon, along with his anti-war activism and influence over young voters, out of the country.\u003c/p>\n\u003cp>So Wildes started digging for another route.\u003c/p>\n\u003cp>“I always had a feeling that the government must have a program to exercise some discretion,” Wildes said.\u003c/p>\n\u003cp>Asked why he had that feeling, Wildes said it was “because there were rumors of certain guys who were — had critical criminal backgrounds and bad immigration histories and seemed to be still around.”\u003c/p>\n\u003cp>Those guys probably benefited from what’s now known as “prosecutorial discretion.” It’s based mainly on the premise that the federal government doesn’t have enough resources to deport all of the immigrants living in the U.S. illegally.\u003c/p>\n\u003cp>Under federal law, immigration officials can choose to prioritize certain deportation cases while holding off on other ones for humanitarian or political reasons.\u003c/p>\n\u003cp>The problem at the time was that Wildes didn’t have proof that this kind of program existed until he filed a Freedom of Information Act request.\u003c/p>\n\u003cp>“When the box came into my office, there was jubilation!” Wildes said. “Unbelievable feeling that I had succeeded.”\u003c/p>\n\u003cp>In the end, Lennon received a green card, which allowed him to stay in the U.S. But those files led U.S. immigration officials to publicize a secret policy.\u003c/p>\n\u003cp>“Before the work of Mr. Wildes, deferred action was a complete mystery because there wasn’t even a guideline for attorneys and noncitizens,” says Shoba Sivaprasad Wadhia, who teaches immigration law at Penn State University and wrote \u003cem>Beyond Deportation: The Role of Prosecutorial Discretion in Immigration Cases\u003c/em>.\u003c/p>\n\u003cp>The files showed that for decades, the government had shielded some immigrants living in the U.S. illegally from deportation because of their sympathetic cases. The Obama administration used that policy to create the original Deferred Action for Childhood Arrivals program, or DACA.\u003c/p>\n\u003cp>“Eligible individuals who do not present a risk to national security or public safety will be able to request temporary relief from deportation proceedings and apply for work authorization,” said President Obama in a 2012 announcement.\u003c/p>\n\u003cp>An expansion of the program, as well as the creation of a similar program called Deferred Action for Parents of Americans and Lawful Permanent Residents, or DAPA, is currently on hold because of legal challenges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But today, the original DACA program covers more than 700,000 young people brought to the U.S. as children — all in part because of that immigrant from Liverpool. \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=John+Lennon%27s+Deportation+Fight+Paved+Way+For+Obama%27s+Deferred+Action+Policy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-end-of-yellowface-and-blackface-or-not",
"title": "Bay Area Theater Co's Work to End Yellowface and Blackface in Shows",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279564976″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I6H4eQhllVM\u003c/p>\n\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ur3uTKbrqIQ\u003c/p>\n\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/279564976″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/279564976″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"http://ww2.kqed.org/arts/2016/08/22/lou-pearlman-boy-band-manager-and-ponzi-schemer-dies-in-prison/\" target=\"_blank\" rel=\"noopener\">Gilbert and Sullivan\u003c/a> opened their musical \u003cem>The Mikado\u003c/em> at the \u003ca href=\"http://www.savoy.org/\" target=\"_blank\" rel=\"noopener\">Savoy Theatre\u003c/a> in London in 1885, the first lines were sung by a chorus of kimono clad men. “If you want to know who we are, We are gentlemen of Japan.”\u003c/p>\n\u003cp>When the \u003ca href=\"http://www.lamplighters.org/\" target=\"_blank\" rel=\"noopener\">Lamplighters Music Theatre\u003c/a> opened their production at the Lesher Center for the Arts a few days ago, the chorus sang something a little different, “If you want to know who we are. We are gentlemen of Milan.”\u003c/p>\n\u003cfigure id=\"attachment_11957008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11957008\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg\" alt=\"A scene from the Lamplighters version of 'The Mikado'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the Lamplighters version of ‘The Mikado’ \u003ccite>(Photo: Lucas Buxman/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So how did the story end up in Italy. We’ll explain that in a minute, but it’s not what the Lamplighters first had in mind.\u003c/p>\n\u003cp>They planned for a traditional Japanese \u003cem>Mikado\u003c/em>, but with some Asian American actors, to avoid the controversies over yellowface that had plagued productions in Seattle and New York. (“Yellowface” is the Asian version of blackface, where white actors play Asian Americans with yellow makeup and eyeliner to make the eyes more slanted.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So last winter, Lamplighters’ Managing Director Sarah Vardigans set a meeting with \u003ca href=\"http://www.lilytungcrystal.com/\" target=\"_blank\" rel=\"noopener\">Lily Tung Crystal\u003c/a>, a leading Bay Area Asian American theater artist. But Vardigans says it didn’t go well.\u003c/p>\n\u003cp>“We had a difficult meeting with Lily,” Vardigans said in a recent interview. “She was very clear that the Asian Community would not support our production if we could not commit to one hundred percent Asian casting.\u003c/p>\n\u003cp>That was a deal breaker for Vardigans. “For a Gilbert and Sullivan company to commit to 100 percent Asian casting,” Vardigans said, “when we typically have ten percent Asian casting is just not practical.”\u003c/p>\n\u003cp>Crystal, who runs \u003ca href=\"http://www.ferociouslotus.org/\" target=\"_blank\" rel=\"noopener\">Ferocious Lotus Theater company\u003c/a>, was unhappy at the compromise Vardigans offered, that the white actors wouldn’t wear yellowface makeup. “We had an issue with that,” Crystal said recently. “Because we would argue that having Caucasian actors play Asian roles constitutes yellowface.”\u003c/p>\n\u003cfigure id=\"attachment_11967397\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967397\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png\" alt=\"Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-400x224.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lily-tung-Crystal-e1471892842297.png 940w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ferocious Lotus Theatre Co. Artistic Director Lily Tung Crystal \u003ccite>(Photo: Courtesy of Ferocious Lotus Theatre Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We don’t do black minstrel shows and blackface, because that’s not accepted anymore,” Crystal added. “So the question is: why, when it comes to the Asian community, it’s still okay for a Caucasian actor to play an Asian role.”\u003c/p>\n\u003cp>The fact is, yellowface and blackface are common on stages and movie screens around the world. The classic yellowface example from the past are the thousands of amateur and professional production of \u003cem>The Mikado\u003c/em>. In the movies, Micky Rooney’s farcical portrayal of Mr Yoniushi in the film version of \u003cem>Breakfast at Tiffany’s\u003c/em> has embarassed generations of Asian Americans. And just last year, the white Emma Stone played an Asian American named Alison Ng in Cameron Crowe’s movie \u003cem>Aloha,\u003c/em> which also garnered criticism.\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/I6H4eQhllVM'\n title='//www.youtube.com/embed/I6H4eQhllVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for blackface, the American Ballet Theatre, the home of African-American dancer Misty Copeland, put dark brown makeup on the Brazilian dancer Marcelo Gomes last year, for a production of \u003cem>Othello\u003c/em>, Shakespeare’s black hero. And white performers played Otello in blackface as recently as 2013 at the Metropolitan Opera in New York, though the company abandoned the practice in its 2015 revival.\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/Ur3uTKbrqIQ'\n title='//www.youtube.com/embed/Ur3uTKbrqIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It really is a history of erasure. It’s ways in which to control bodies of color,” says A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts. “And control them in terms of economics because you want to take ideas from communities of color, but not pay folks.”\u003c/p>\n\u003cp>So it’s worth noting when a major arts group puts Asian Americans in charge both on and off the stage.\u003c/p>\n\u003cfigure id=\"attachment_11967399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967399\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg\" alt=\"Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-1920x909.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Act-I-960x455.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Set design for the new opera ‘Dream of the Red Chamber,’ premiering in September at San Francisco Opera \u003ccite>(Photo: Courtesy of SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Next month, \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> is premiering \u003cem>Dream of the Red Chamber\u003c/em>, based on the classic 18th century Chinese novel. \u003ca href=\"http://www.brightsheng.com/\" target=\"_blank\" rel=\"noopener\">Bright Sheng \u003c/a>wrote the music, playwright \u003ca href=\"http://barclayagency.com/site/speaker/david-henry-hwang\" target=\"_blank\" rel=\"noopener\">David Henry Hwang \u003c/a>the libretto, and Stan Lai directs. All three are Chinese American (Lai is based in Taiwan). And Hwang’s contract stipulates that the show feature Asians in all the singing roles.\u003c/p>\n\u003cp>But Gregory Henkel, managing director/artistic, who oversees casting for SF Opera, says \u003cem>Dream of the Red Chamber\u003c/em> is a special case. “We found the singers first, and then the composer wrote for them.” And that’s because Henkel argues casting opera is much tougher than film or plays. Opera singers are like Olympic athletes, he says, who have to “sail over a large orchestra and fill a very large space,” 3200 seats in the case of San Francisco War Memorial Opera House. “Which is something not very many people in the world have the ability to do.”\u003c/p>\n\u003cp>Henkel says SF Opera practices a version of colorblind casting (common in many American theater companies), “hiring the greatest singers available.”\u003c/p>\n\u003cfigure id=\"attachment_11967554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11967554\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg\" alt=\"Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DAactI_342-1-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baritone James Maddalena as Jack Hubbard, and bass-baritone Eric Owens as General Leslie Groves in SF Opera’s production of ‘Doctor Atomic’ by John Adams and Peter Sellars \u003ccite>(Photo: Terence McCarthy/SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So on the SF Opera stage, the African American soprano\u003ca href=\"https://en.wikipedia.org/wiki/Leontyne_Price\" target=\"_blank\" rel=\"noopener\"> Leontyne Price \u003c/a>has played both Verdi’s African princess Aida, and Cio Cio San, the Japanese heroine of Puccini’s \u003cem>Madame Butterfly\u003c/em>. In 2010, the African American bass-baritone Eric Owens created the role of the white General Leslie Groves in the world premiere John Adams’ docu-opera \u003cem>Doctor Atomic\u003c/em>. White tenors, not in blackface, have played the title role in the company’s most recent productions of \u003cem>Otello\u003c/em>.\u003c/p>\n\u003cp>So against that background, how did The Lamplighters work things out in their\u003cem> Mikado\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11957016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11957016 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg\" alt=\"Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters' 'TheMikado'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-1180x691.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813-960x562.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lamplighters-Mikado-Image-2-1-e1471895968813.jpg 1379w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Westley, Autumn Allee as Pippa, and Michele Schroeder in Lamplighters’ ‘TheMikado’ \u003ccite>( Photo: Joe Giammarco/Lamplighters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They reset it in Renaissance Italy, in Milan, not Japan, so the rhymes all work, and the show seemed as silly and as charming as any Gilbert and Sullivan lover might ask. “We were pressured to do it,” Vardigans says, “but ultimately we’ve all come around to being very excited about it, and in today’s cultural environment, it’s not right to do something that is offensive to any part of our community.”\u003c/p>\n\u003cp>Vardigans says a number of Gilbert and Sullivan companies from around the country are coming to town to see how well Lamplighters has resolved the controversy, though now, only a few small roles are played by Asians Americans.\u003c/p>\n\u003cp>Which is why theater activist \u003ca href=\"http://www.crowdedfire.org/mina-morita/\" target=\"_blank\" rel=\"noopener\">Mina Morita\u003c/a>, artistic director at Crowded Fire Theater Company, says she’s most excited about new plays that truly mirror America’s diversity.\u003c/p>\n\u003cp>“Because we’re tired of playing the sexy vixens, the maids, the wise mom, the ninja, the samurai. We’re ready for more complex roles.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And any time there’s a show about somebody else’s culture, Morita says, the producers need to find people from that culture to help create it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Tragic Turn of the Frightnrs' First — and Last — Record",
"headTitle": "The Tragic Turn of the Frightnrs’ First — and Last — Record | KQED",
"content": "\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271731134″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Klein may have been trying really hard — during his cover photo shoot, during the vocal sessions he tracked with the clock running out — for the big break he didn’t get to fully realize. But he wasn’t alone. \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=The+Tragic+Turn+of+the+Frightnrs%27+First+%E2%80%94+And+Last+%E2%80%94+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“That’s frickin’ \u003cem>sick!\u003c/em>”\u003c/p>\n\u003cp>At the moment when Dan Klein, singer of the retro reggae outfit the Frightnrs, saw the finished cover of his band’s first full-length album, \u003cem>Nothing More to Say\u003c/em>, he was sitting in his apartment in Windsor Terrace, situated in a narrow strip of blocks between Brooklyn’s Prospect Park and Greenwood Cemetery. On the cover, Klein is crouching, all sharp angles: hunched shoulders, bent elbows and knees. His bandmates, Rich Terrana, Chuck Patel and Preet Patel stand in a row to his left, upright, their jackets just as wrinkled at the joints as Klein’s, just lived-in enough, the level of worn that comes from breaking them out for special occasions and big gigs. Their frontman’s eyes are fixed to the ground, but Terrana and the Patels gaze at the lens, the vibe calmed by the violet rendering of the original photo.\u003c/p>\n\u003cp>The cover reflects the thought and care the Frightnrs have put into their streamlined, vintage sensibility that emerged as the Jamaica, Queens-based group found its footing in a scene shaped by “years of ska-punk crossover and a lot of fake, white-rasta stage antics,” as Klein put it. “We wanted to come across as the Rat Pack,” he said of the musicians’ aesthetic and penchant for ’70s rhythms that distanced them from their peers. “We wanted to be sharp. We wanted to wear suits, be dark, get down to business, all ‘\u003cem>This is New York\u003c/em>.’ We looked like a soul band, and we also enjoy a lot of Motown, doo-wop, blues and gospel music, and I think that comes out in our music.”\u003c/p>\n\u003cp>There’s an effortless cool to the cover of \u003cem>Nothing More to Say\u003c/em> that matches the music inside, and a discussion of this — of “cool” as a state of being, a vibe, a reflex or an instinct — brought an intense shine to Klein’s eyes. “Because of circumstances, this record is particularly significant, because it’s going to be our only record,” he said. “Everybody wanted to make sure it’s just right. It turns out we already had some pictures from last year that were very much appropriate for what we’re going for. It didn’t even occur to anybody that we’d want to use those. I’m really relieved. Those pictures were the right ones.”\u003c/p>\n\u003cp>That afternoon, Klein, having long since lost the ability to crouch the way he does on the album cover, was sitting upright thanks to the chair he now spent his days in, a position that facilitated breathing with the help of a machine that routinely filled his lungs. As he looked again at the artwork — which Gabe Roth, the founder of Klein’s label, Daptone Records, had finalized just a few days before — the comment was made that the guys come off as the epitome of cool, that they don’t even look like they’re trying to nail the shot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Really?” Klein paused. The machine clicked. He breathed. “I’m trying really hard.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cem>Nothing More to Say\u003c/em> was supposed to be a collection of triumphant firsts for the Frightnrs, for Daptone, for everyone involved in the project. It is the Frightnrs’ first full-length album, and it follows three EPs, the most recent of them being \u003cem>Inna Lover’s Quarrel\u003c/em>, which Mad Decent put out last September. It is the first reggae album released by Daptone, the first deviation for the Bushwick-based label — best known for championing artists with hard-lived stories to tell, like \u003ca href=\"http://www.npr.org/artists/15325312/sharon-jones\" target=\"_blank\" rel=\"noopener\">Sharon Jones and the Dap-Kings\u003c/a> and \u003ca href=\"http://www.npr.org/artists/175953068/charles-bradley\" target=\"_blank\" rel=\"noopener\">Charles Bradley\u003c/a> — from its brassy, funk-laden foundation of soul (save for its recently launched rock imprint, Wick Records). It is the first record produced by Victor Axelrod, a.k.a. “Ticklah,” for the label, which is a doubly special event considering his close Daptone ties: An organist / piano player / man-on-the-keys of different persuasions and a prolific reggae composer based in Brooklyn, Axelrod has been around since the days before the Dap-Kings and \u003ca href=\"http://www.npr.org/artists/15158396/antibalas\" target=\"_blank\" rel=\"noopener\">Antibalas\u003c/a>, back when members of both outlets played together as the Soul Providers in North Brooklyn in the late ’90s.\u003c/p>\n\u003cp>It is also singular for being the first album Daptone will release following the death of one of the artists who made it.\u003c/p>\n\u003cfigure id=\"attachment_11971686\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg\" alt=\"The cover art of 'Nothing More to Say'.\" width=\"640\" height=\"640\" class=\"size-large wp-image-11971686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/dap-042-lp_f-largea_enl-070780570b46c9d14474ed36f4958585e516c54e.jpg 1990w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The cover art of ‘Nothing More to Say’. \u003ccite>(Photo: Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On June 8, Klein, in spite of the concerns of his family and caregivers, went to Prospect Park to see Sharon Jones and the Dap-Kings perform. Axelrod, who plays with the Dap-Kings for special occasions, joined them onstage that day, having heard about the difficult year Jones was having; she’s in the process of battling cancer for the second time. Klein sent a simple “Nicely done, sir!” text to Axelrod following the gig. He succumbed to amyotrophic lateral sclerosis, also known as ALS or Lou Gehrig’s Disease, in the hours following the performance. The illness had first seeped into his muscles, making them feel strained and foreign, in the summer of 2015, just days after he and the Frightnrs began recording\u003cem> Nothing More to Say\u003c/em> with Axelrod at Daptone’s House of Soul studio.\u003c/p>\n\u003cp>“Things were moving along and going well, but there was this lingering issue of, ‘What the hell is wrong with Dan? Why is he being such a drag?'” Axelrod recalls in a conversation several weeks after Klein’s death. “It was during that week in the studio that his symptoms started to manifest to the point where he was really struggling to sing and was complaining about feeling lousy and weak the whole time. This continued for the rest of the summer into the fall, when we were recording his lead vocals, but it wasn’t until the end of November that we all learned what was going on with him.”\u003c/p>\n\u003cp>ALS is a brutal and efficient disorder in which fatigue and weakness are eventually followed by loss of motor function and muscular degeneration, but its invasion of the body offers no exact timeline. Immediately following Klein’s diagnosis, the Frightnrs, Axelrod and Daptone found themselves challenged on two fronts: by their own stubborn standards for creating a superlative record with Daptone’s trademark throwback vibe, and by the mechanics it takes to do that on an intimidating and tragic deadline. From November onward, pressure forged the backbone of \u003cem>Nothing More to Say\u003c/em>: The Frightnrs’ time with Klein was finite, as was their opportunity to cut the record with Axelrod, and they needed to work through their anguish before Klein lost his ability to breathe, and to sing.\u003c/p>\n\u003cp>Axelrod says urgency was in the air long before anyone knew Klein was sick: Now that the Frightnrs, Axelrod and Daptone had found each other, they didn’t want to wait to get \u003cem>Nothing More to Say\u003c/em> out of the House of Soul and onto turntables.\u003cstrong> \u003c/strong>“The profound change in the energy surrounding the album was that it went from the normal process of working on music to meet a label deadline to working on the album as quickly as possible in an attempt to have it released before Dan passed away,” he says. “It was a horrible feeling to work with. It felt ugly and surreal for all of us in the final months of completing the record. We got through it and did everything we needed to do. I just think it felt like we all had 50-pound weights strapped to our chests while we did it.”\u003c/p>\n\u003cp>Axelrod spent two days snaking wires and finagling mics to zero in on the time-traveling sound of \u003cem>Nothing More to Say\u003c/em>. His microscopic approach to the technical minutiae isn’t simply the process of a perfectionist: It’s both reflective of Axelrod’s commitment to a band he’s believed in for years and an economical strategy, considering the suffocating deadlines and Klein’s declining health. Through the window by the soundboard at the House of Soul, one can see into the recording room, where Klein cut his vocals in the same spot that \u003ca href=\"http://www.npr.org/artists/15159821/amy-winehouse\" target=\"_blank\" rel=\"noopener\">Amy Winehouse\u003c/a> sang her way through some of \u003cem>Back to Black\u003c/em>‘s most beloved tracks and Sharon Jones gave voice to \u003cem>Give the People What They Want \u003c/em>just before her own fight against a deadly illness nearly derailed her career.\u003c/p>\n\u003cp>“It’s not uncommon to have very little time to record with a group of people and therefore rush through this initial process, only to have some possibly deep regrets later,” Axelrod says of his meticulous preparations. “I went into the studio with the idea that there would be a certain character to the sound of the record, which was to be established up front rather than on the back end. Everyone was patient with me, thankfully. The songs were all pretty new to everyone involved, so it was also a good way to just get settled in — for them to play a lot and go over the songs while I turned knobs.”\u003c/p>\n\u003cp>Axelrod saw the Frightnrs for the first time in 2011 at Otto’s Shrunken Head, a tiki bar in the East Village that serves tropical drinks and hosts small shows in its back room. Their idiosyncrasies and instrumental flourishes struck him immediately. “There were subtleties in their playing and the way they sang together that really resonated with me,” he recalls. “Dan’s energy was simultaneously subdued and manic. He looked so uncomfortable with himself, but there was a sound that came from him that had everyone in the room mesmerized for the whole show.”\u003c/p>\n\u003cp>This sound, which harkens back to the soul-inflected stylings of ’60s and ’70s reggae, hit Axelrod’s ear as informed and appreciative. This was hardly a band participating in musical tourism, but a band that lived and breathed vintage reggae — Alton Ellis, Delroy Wilson, \u003ca href=\"http://www.npr.org/artists/15374434/toots-the-maytals\" target=\"_blank\" rel=\"noopener\">Toots and the Maytals\u003c/a> — and studied up on how these Jamaican singers were informed by the soulful hits coming out of Motown a decade prior, a tie that would later lay the foundation of its relationship with Daptone.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/271731134″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/271731134″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“There are all kinds of different rhythmic and textural approaches that are a part of the history of this genre, and it’s not all late-’70s \u003ca href=\"http://www.npr.org/artists/15283623/bob-marley\" target=\"_blank\" rel=\"noopener\">Bob Marley\u003c/a>,” Axelrod says. “I could hear that the Frightnrs were loving and learning from different aspects of reggae that I also love and try to learn from. I can’t say that about too many other groups of musicians. They’re also a great example of the whole being greater than the sum of its parts. They know how to play together — with each other.”\u003c/p>\n\u003cp>It’s easy to picture Axelrod staring down a stubborn microphone as he coaxes it into position to record Terrana’s metallic cymbal hits or Patel’s bobbing bass lines: The dual pulses of the rhythm section were stronger as a unit, and stronger still when recorded to the same track, even if it meant hours of additional setup time and a riskier endeavor to tackle in post, if need be. But it was Klein’s voice — a resonant, somber tenor that took on the tone of a begging lover (“Gotta Find a Way”), a cheeky fighter (“Trouble In Here”) or a frustrated romantic whose best intentions have been defeated (“All My Tears”) — that stood out to Axelrod as a vital organ of \u003cem>Nothing More to Say\u003c/em>.\u003c/p>\n\u003cp>“You’ll notice there are no Jamaican accents on this record,” Klein said in May, his Brooklyn lilt serving as a point of pride that further differentiates the Frightnrs from other like-sounding acts. “I sing in my regular voice; I sing as an American.” Some singers belt and wail and give off the impression that these could be the last notes they ever sing. The intensity of Klein’s delivery doesn’t squander the sad truth that the notes heard on \u003cem>Nothing More To Say\u003c/em> are, in fact, the last he would ever lay to tape. “Despite the fact that his symptoms had taken hold by the time we began recording his vocals, I feel like, more than ever, Dan really found his voice as a singer and writer for this album,” Axelrod says. “I think the lyrics and melodies that Dan wrote for this album show the depth of his talent like never before.”\u003c/p>\n\u003cp>Klein was a part of the process up until his passing, checking in with Daptone to see about a confirmed release date and offering his insight on the tracks in mastering when he could bring himself to do so. “I would check my emails sometimes, listen to things,” he said. “There were things that Victor would hear that I wouldn’t; certain guys in my band would hear things. I don’t have the same amazing ear for details. I was so desperate for the thing to be completed that I’d be more inclined to be like, ‘That’s awesome, let’s go, let’s go!’ Half of me was overexcited and maybe not critical enough, and then the other half of me didn’t want to listen to it because I didn’t want to cry. There are songs on this album that I never got to sing in front of an audience. That’s a bummer, you know? I’m really proud of it. I think we did a good job. We had the best help we could get.”\u003c/p>\n\u003cp>“I think everybody feels a certain onus as far as making this record happen,” Roth says, sitting on the couch behind the engineer’s chair at the House of Soul. He lives in Riverside, Calif., but was in New York in July on Daptone business, checking in with his staff, working on tracks for the forthcoming Sharon Jones album and surveying the pieces of the \u003cem>Nothing More to Say\u003c/em> puzzle that had started coming together. On the morning of the Dap-Kings’ Brooklyn gig five weeks prior, Roth had visited Klein in Windsor Terrace and told him that the album’s release was confirmed for early September — later than they’d hoped, a result\u003cstrong> \u003c/strong>of overwhelmed vinyl pressing plants. “I had to tell him that the record was coming out on Sept. 2,” Roth says. “He was a little disappointed by that. It was rough.” The announcement of the release date, the drop of the first song, the all-too-aptly named title track, the building buzz in the press — all are facets of the experience Klein missed, unfolding barely a month after his passing. “I think that everyone top to bottom here feels like a certain sense of duty with that record,” Roth continues. “It’s not just because Dan is gone; it’s because it’s such a beautiful record, and everybody feels like it’s so important to get that record out to people. Obviously that task becomes a little more solemn. It feels a little more important. Mostly, it’s very sad. But it’s a great record, man.”\u003c/p>\n\u003cp>For Roth, the Frightnrs’ commitment to the real deal is what made them a perfect addition to the label’s roster. Klein, the Patels and Terrana looked to many of the same soul singers of the ’60s and ’70s for inspiration that Roth, Jones, the Dap-Kings and the Daptone roster at large have while building their reputation, and that kinship is rooted in more than old-school appreciation and well-worn suits.\u003c/p>\n\u003cp>“The way they’re making music is the way we make music,” Roth says. “It’s the same kind of love and respect, and soulful, not in the way of aping some style or trying to co-opt something that’s not yours, but in the way of just being honest and making music that feels good and raw, stripping all the bulls*** out of the process, just systematically dismantling something until the only thing that’s left is the real part of it. That, to me, is what that their record has. It has this real raw, naked kind of soul to it, which is what we aspire to as far as Daptone and the way we try to make records. The way that Victor recorded it, the way it’s put together, it was just a lot of balls and a lot of heart, and not a lot of bulls***.”\u003c/p>\n\u003cp>Speaking to Klein in his final days, it was apparent he’d been thinking about what the album meant to him, especially now that he likely wouldn’t live to see its release.\u003c/p>\n\u003cp>“The songs that I wrote were my personal stories of relationships and personal growth, and what I was going through before I knew I was sick,” he said. “I wish my relationship to the songs was that I can’t wait to go sing them live on tour, opening for other Daptone acts. But now it’s more what I’m leaving behind. It makes it more significant in that way.”\u003c/p>\n\u003cp>This is where a first chapter turns to a final one, where a debut becomes a legacy. The swift loss of life is devastating enough, but to extinguish the Frightnrs’ run just as the flame of their success was beginning to spark feels especially, needlessly cruel on the part of fate. And yet, from the most difficult challenges one can face, \u003cem>Nothing More to Say\u003c/em> emerged as a polished, seemingly effortless work of art. Though Klein’s passing is deeply felt by those who knew him and the artists he counted as friends and family, the strength of the album, and knowledge of the superhuman determination it required to make it at such a breakneck pace, comfort in the wake of grief. \u003cem>Nothing More to Say\u003c/em> is not just a premiere, not just a meticulously crafted and ruthlessly good record of unique reggae that could only be created by crate-digging kids that call the Queens County Jamaica home instead of the Caribbean one. It’s an uppercut straight to the chin of mortality, thrown by some of the best musicians in the business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Klein may have been trying really hard — during his cover photo shoot, during the vocal sessions he tracked with the clock running out — for the big break he didn’t get to fully realize. But he wasn’t alone. \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=The+Tragic+Turn+of+the+Frightnrs%27+First+%E2%80%94+And+Last+%E2%80%94+Record&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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