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"title": "Why Aren't There Any Strip Clubs in the East Bay?",
"headTitle": "Why Aren’t There Any Strip Clubs in the East Bay? | KQED",
"content": "\u003cp>\u003cem> In the 1960s, San Francisco was in the midst of a sexual revolution. Officials across the bay in Oakland wanted none of it. \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Listener Alicia Gallo was out with friends one night, and they couldn’t find any strip clubs to go to in the East Bay. She got to thinking, San Francisco has plenty of them. She remembers going to one in S.F. for a friend’s birthday party back in college. Stumped, she asked Bay Curious, “Why aren’t there any strip clubs in the East Bay?”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003ch3>Are There Really None?\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Alicia Gallo, I couldn’t find any strip clubs in the East Bay. But I did find strippers. After asking around a bit, I met an Oakland club promoter named Trina McQueen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I came to Oakland there was no strip clubs,” McQueen says. “So my girlfriend and I and all of her friends brought it to Oakland. That was in 1991. And it shot off the roof.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McQueen’s dancers work at Club BNB, an LGBT bar in downtown Oakland. They dance and strip — but not all the way.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11048013 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg\" alt=\"Promoter Trina McQueen emcees on stage at Club BnB while her dancers perform.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Promoter Trina McQueen emcees onstage at Club BNB while her dancers perform. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a reason her dancers don’t disrobe beyond their pasties and G-strings. It’s against the law for dancers to go nude in Oakland, or anywhere in Alameda County.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My show is not a nude show,” McQueen says.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302386770″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>‘No Breasts or Private Parts’\u003c/h3>\n\u003cp>According to \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA\">Chapter 9.28 of the Oakland Municipal Code\u003c/a>, it’s a misdemeanor for women to expose their breasts “while participating in any live act, demonstration, or exhibition in any public place.” Even simulating that nipple with a pasty is questionable.\u003c/p>\n\u003cblockquote>\u003cp>Every female is guilty of a misdemeanor who, while participating in any live act, demonstration, or exhibition in any public place, place open to the public, or place open to public view, or while serving food or drink or both to any customer:\u003c/p>\n\u003cp>A. Exposes any portion of either breast below a straight line so drawn that both nipples and all portions of both breasts which have a different pigmentation than that of the main portion of the breasts are below such straight line; or\u003c/p>\n\u003cp>B. Employs any device or covering which is intended to simulate such portions of the breast below such line; or\u003c/p>\n\u003cp>C. Wears any type of clothing so that any portion of such part of the breast may be observed.\u003c/p>\u003c/blockquote>\n\u003cp>Another section \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA_9.28.040PRAGDIPRPA\">prohibits the display of “private parts”\u003c/a> for women or men.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland City Council passed this ordinance in 1970. But why? For the answer, you need to cross the Bay to San Francisco, where commercial sex was booming, says \u003c/span>\u003cspan style=\"font-weight: 400\">Josh Sides, the Whitsett Professor of California History at Cal State Northridge.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11048059\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1920x1280.jpg\" alt=\"A plaque hangs outside the Condor Club in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A plaque hangs outside the Condor Club in San Francisco’s North Beach. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carol Doda Goes Topless For the First Time\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1960s, people watched dancers perform in pasties and swimsuits at go-go bars on Broadway in North Beach.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On June 19, 1964, at the Condor Club, a cocktail waitress named Carol Doda tossed aside her pasties and did The Swim dance in a topless monokini.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034913\" class=\"wp-caption alignleft\" style=\"max-width: 266px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11034913 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg\" alt=\"Carol Doda acquitted on indecency charge, 1965. \" width=\"266\" height=\"263\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511.jpg 561w\" sizes=\"(max-width: 266px) 100vw, 266px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda acquitted on indecency charge, 1965. \u003ccite>(United Press International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda, who’s \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies/\">\u003cspan style=\"font-weight: 400\">now deceased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, said in a 1997 KRON-TV \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/227176\" target=\"_blank\" rel=\"noopener\">documentary \u003c/a>that the audience was captivated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They were lined up around the corner. It’s like they had never seen bare breasts before in their lives,” she said. Baring her nipples was a big deal, she added — “the greatest thing since sliced bread.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda’s dance sparked a sexual revolution of its own. There was an explosion of adult bookstores, erotic massage parlors and porn theaters, particularly in the North Beach and Tenderloin neighborhoods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sides says San Francisco went from having no topless clubs in 1964 to having about 40 within a year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“San Francisco became the sort of example that every city wanted to avoid,” he said.\u003c/span>\u003c/p>\n\u003ch3>The Smut Capital of America\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1969, local and state lawmakers started to crack down on obscenity and indecency. Dianne Feinstein was running for the San Francisco Board of Supervisors that year, and she pointed to “the growth of obscenity” as one of the things ruining the city.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034916\" class=\"wp-caption alignleft\" style=\"max-width: 243px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-11034916\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg\" alt=\"An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969.\" width=\"243\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-800x1407.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357.jpg 816w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969. \u003ccite>(Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In September 1969, Gov. Ronald Reagan signed the \u003ca href=\"http://codes.findlaw.com/ca/penal-code/pen-sect-318-5.html\" target=\"_blank\" rel=\"noopener\">Quimby-Walsh Act.\u003c/a> The law allowed cities and counties to regulate how waiters, waitresses and entertainers dress in bars and restaurants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Jan. 22, 1970, Oakland passed an ordinance prohibiting “exposure of portions of the human body in specified places.” City officials had been waiting for Reagan to sign the Quimby-Walsh Act so they could stifle the topless — and emerging bottomless — craze.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, that ordinance is what keeps strip clubs out of Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get quite a bit of interest of individuals wanting to start strip clubs in Oakland, but unfortunately the city’s policies and regulations don’t allow that at this time,” says Juno Thomas, Small Business Assistance Center coordinator for the Oakland Economic and Workforce Development Department.\u003c/span>\u003c/p>\n\u003ch3>We Don’t Want You Here!\u003c/h3>\n\u003cp>The ban over all of Alameda County means there’s also no legal strip clubs in cities like Hayward, Emeryville or Berkeley.\u003c/p>\n\u003cp>Other cities in the East Bay use zoning rules to discourage strip clubs and restrict where they try to open. That’s how it’s done in Contra Costa County — home to the cities of Richmond and Walnut Creek. In fact, zoning is the most common way municipalities deal with strip clubs.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for McQueen, she’s hoping Oakland will change its rules to match San Francisco.\u003c/span>\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I don’t feel like my dancers that live in Oakland need to go make their money in San Francisco,” McQueen says. “I just feel like they need to be able to make their money where they live.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’ll just keep doing her thing — pasties and G-strings — in Oakland.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> team take on? Submit it!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem> In the 1960s, San Francisco was in the midst of a sexual revolution. Officials across the bay in Oakland wanted none of it. \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Listener Alicia Gallo was out with friends one night, and they couldn’t find any strip clubs to go to in the East Bay. She got to thinking, San Francisco has plenty of them. She remembers going to one in S.F. for a friend’s birthday party back in college. Stumped, she asked Bay Curious, “Why aren’t there any strip clubs in the East Bay?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Are There Really None?\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Alicia Gallo, I couldn’t find any strip clubs in the East Bay. But I did find strippers. After asking around a bit, I met an Oakland club promoter named Trina McQueen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I came to Oakland there was no strip clubs,” McQueen says. “So my girlfriend and I and all of her friends brought it to Oakland. That was in 1991. And it shot off the roof.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McQueen’s dancers work at Club BNB, an LGBT bar in downtown Oakland. They dance and strip — but not all the way.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11048013 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg\" alt=\"Promoter Trina McQueen emcees on stage at Club BnB while her dancers perform.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Promoter Trina McQueen emcees onstage at Club BNB while her dancers perform. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a reason her dancers don’t disrobe beyond their pasties and G-strings. It’s against the law for dancers to go nude in Oakland, or anywhere in Alameda County.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My show is not a nude show,” McQueen says.\u003c/span>\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/302386770″&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/302386770″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘No Breasts or Private Parts’\u003c/h3>\n\u003cp>According to \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA\">Chapter 9.28 of the Oakland Municipal Code\u003c/a>, it’s a misdemeanor for women to expose their breasts “while participating in any live act, demonstration, or exhibition in any public place.” Even simulating that nipple with a pasty is questionable.\u003c/p>\n\u003cblockquote>\u003cp>Every female is guilty of a misdemeanor who, while participating in any live act, demonstration, or exhibition in any public place, place open to the public, or place open to public view, or while serving food or drink or both to any customer:\u003c/p>\n\u003cp>A. Exposes any portion of either breast below a straight line so drawn that both nipples and all portions of both breasts which have a different pigmentation than that of the main portion of the breasts are below such straight line; or\u003c/p>\n\u003cp>B. Employs any device or covering which is intended to simulate such portions of the breast below such line; or\u003c/p>\n\u003cp>C. Wears any type of clothing so that any portion of such part of the breast may be observed.\u003c/p>\u003c/blockquote>\n\u003cp>Another section \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA_9.28.040PRAGDIPRPA\">prohibits the display of “private parts”\u003c/a> for women or men.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland City Council passed this ordinance in 1970. But why? For the answer, you need to cross the Bay to San Francisco, where commercial sex was booming, says \u003c/span>\u003cspan style=\"font-weight: 400\">Josh Sides, the Whitsett Professor of California History at Cal State Northridge.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11048059\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1920x1280.jpg\" alt=\"A plaque hangs outside the Condor Club in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A plaque hangs outside the Condor Club in San Francisco’s North Beach. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carol Doda Goes Topless For the First Time\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1960s, people watched dancers perform in pasties and swimsuits at go-go bars on Broadway in North Beach.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On June 19, 1964, at the Condor Club, a cocktail waitress named Carol Doda tossed aside her pasties and did The Swim dance in a topless monokini.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034913\" class=\"wp-caption alignleft\" style=\"max-width: 266px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11034913 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg\" alt=\"Carol Doda acquitted on indecency charge, 1965. \" width=\"266\" height=\"263\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511.jpg 561w\" sizes=\"(max-width: 266px) 100vw, 266px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda acquitted on indecency charge, 1965. \u003ccite>(United Press International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda, who’s \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies/\">\u003cspan style=\"font-weight: 400\">now deceased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, said in a 1997 KRON-TV \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/227176\" target=\"_blank\" rel=\"noopener\">documentary \u003c/a>that the audience was captivated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They were lined up around the corner. It’s like they had never seen bare breasts before in their lives,” she said. Baring her nipples was a big deal, she added — “the greatest thing since sliced bread.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda’s dance sparked a sexual revolution of its own. There was an explosion of adult bookstores, erotic massage parlors and porn theaters, particularly in the North Beach and Tenderloin neighborhoods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sides says San Francisco went from having no topless clubs in 1964 to having about 40 within a year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“San Francisco became the sort of example that every city wanted to avoid,” he said.\u003c/span>\u003c/p>\n\u003ch3>The Smut Capital of America\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1969, local and state lawmakers started to crack down on obscenity and indecency. Dianne Feinstein was running for the San Francisco Board of Supervisors that year, and she pointed to “the growth of obscenity” as one of the things ruining the city.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034916\" class=\"wp-caption alignleft\" style=\"max-width: 243px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-11034916\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg\" alt=\"An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969.\" width=\"243\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-800x1407.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357.jpg 816w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969. \u003ccite>(Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In September 1969, Gov. Ronald Reagan signed the \u003ca href=\"http://codes.findlaw.com/ca/penal-code/pen-sect-318-5.html\" target=\"_blank\" rel=\"noopener\">Quimby-Walsh Act.\u003c/a> The law allowed cities and counties to regulate how waiters, waitresses and entertainers dress in bars and restaurants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Jan. 22, 1970, Oakland passed an ordinance prohibiting “exposure of portions of the human body in specified places.” City officials had been waiting for Reagan to sign the Quimby-Walsh Act so they could stifle the topless — and emerging bottomless — craze.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, that ordinance is what keeps strip clubs out of Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get quite a bit of interest of individuals wanting to start strip clubs in Oakland, but unfortunately the city’s policies and regulations don’t allow that at this time,” says Juno Thomas, Small Business Assistance Center coordinator for the Oakland Economic and Workforce Development Department.\u003c/span>\u003c/p>\n\u003ch3>We Don’t Want You Here!\u003c/h3>\n\u003cp>The ban over all of Alameda County means there’s also no legal strip clubs in cities like Hayward, Emeryville or Berkeley.\u003c/p>\n\u003cp>Other cities in the East Bay use zoning rules to discourage strip clubs and restrict where they try to open. That’s how it’s done in Contra Costa County — home to the cities of Richmond and Walnut Creek. In fact, zoning is the most common way municipalities deal with strip clubs.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for McQueen, she’s hoping Oakland will change its rules to match San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I don’t feel like my dancers that live in Oakland need to go make their money in San Francisco,” McQueen says. “I just feel like they need to be able to make their money where they live.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’ll just keep doing her thing — pasties and G-strings — in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Francisco Honors Tony Bennett, a New Yorker, for Losing His Heart Here",
"headTitle": "San Francisco Honors Tony Bennett, a New Yorker, for Losing His Heart Here | KQED",
"content": "\u003cp>San Francisco city officials will unveil a statue on Friday, Aug. 19, for a lifelong New Yorker. And I can’t imagine any San Franciscans complaining about honoring this particular outsider. The eight foot bronze monument depicts Tony Bennett, the man who made “I Left My Heart in San Francisco” an international hit.\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay”\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r6DUwMnDxEs\u003c/p>\n\u003cp>“He’s been our ambassador around the world,” says San Francisco’s chief of protocol, Charlotte Mailliard Shultz.\u003c/p>\n\u003cp>Shultz and I talked a few days ago in the lobby of the Fairmont Hotel high on Nob Hill, where Bennett first sang the song at the \u003ca href=\"http://www.bayareacabaret.org/About-Us.html\" target=\"_blank\" rel=\"noopener\">Venetian Room \u003c/a>in 1961.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shultz helped raise the private funds to build the statue, which she says was a breeze because of how “I Left My Heart…” made the city sound like so romantic.\u003c/p>\n\u003cp>“That song resonates with people and they want to come here,” Shultz said. “And people who are from here say that’s my town. That’s my city.”\u003c/p>\n\u003cp>Bennett recorded the song in early 1962, over the objections of CBS boss Mitch Miller, as the B side on a 45. “I Left My Heart…” reached #19 on the Billboard Hot 100, and became Bennett’s trademark.\u003c/p>\n\u003cp>“I had hits before that song, and certainly a lot of hits afterward,” he told reporter \u003ca href=\"http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656\" target=\"_blank\" rel=\"noopener\">Bill Christine in a recent SF Weekly interview\u003c/a>, “But I never had a hit like that one. That song gave me international recognition.”\u003c/p>\n\u003cp>San Franciscans George Cory and Douglass Cross wrote “I Left My Heart…” as an act of “pure nostalgia” in 1953, while failing to make it as songwriters in New York City. The song would be their only big hit, but what a hit it was: the Recording Industry Association of America ranked “I Left My Heart…” 23rd on its list of the most historically significant Songs of the 20th Century.\u003c/p>\n\u003cp>San Francisco has honored Bennett before. The song is one of San Francisco’s two official anthems, and Bennett was given the key to the city in 2012, on the recording’s 50th anniversary. But with Bennett turning 90 this month, Schultz says she felt some urgency to do more.\u003c/p>\n\u003cp>“Because I think SF’s have a love for him, and why wait till he’s gone.” So she picked up the phone and called a friend, \u003ca href=\"http://brucewolfe.com/\" target=\"_blank\" rel=\"noopener\">sculptor Bruce Wolfe.\u003c/a>\u003c/p>\n\u003cp>“I had a month to do the whole statue, you know.” Wolfe told me a few days as we talked in his Piedmont studio. “So I did it in wet clay, as he sat here.\u003c/p>\n\u003cfigure id=\"attachment_11936155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11936155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg\" alt=\"Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett's head. To Wolfe's right is a model for a bust he's working on of former mayor Gavin Newsom.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1920x1300.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett’s head. To Wolfe’s right is a model for a bust he’s working on of former mayor Gavin Newsom. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see the armature over there,” Wolfe went on, “It’s rebar, and I had 1500 pounds of clay on that sucker by the time it was done. That’s a lot of clay.”\u003c/p>\n\u003cp>Wolfe has given Bennett a characteristic half smile, arms outstretched like he’s finishing a song.\u003c/p>\n\u003cp>“What I tried to get from him,” Wolfe said, “was a feeling of the graciousness… The love of singing… that look he has, when he comes and belts something out. Wow. He puts his heart into it.”\u003c/p>\n\u003cp>Bennett will appear, and maybe sing, at three events in his honor late this week: the unveiling of the bronze statue at noon in front of the Fairmont, at AT&T Park that night, and at a fundraiser Saturday for the benefit of emergency pediatric care at Zuckerberg San Francisco General Hospital.\u003c/p>\n\u003cp>\u003cb>Here are the deceptively simple lyrics to “I Left My Heart in San Francisco”:\u003c/b>\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I left my heart in San Francisco\u003c/em>\u003cbr>\n\u003cem>High on a hill, it calls to me\u003c/em>\u003cbr>\n\u003cem>To be where little cable cars climb halfway to the stars\u003c/em>\u003cbr>\n\u003cem>The morning fog may chill the air, I don’t care\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“My love waits there in San Francisco\u003c/em>\u003cbr>\n\u003cem>Above the blue and windy sea\u003c/em>\u003cbr>\n\u003cem>“When I come home to you, San Francisco\u003c/em>\u003cbr>\n\u003cem> Your golden sun will shine for me.”\u003c/em>\u003c/p>\n\n",
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"excerpt": "San Francisco officials plan to unveil a statue to a lifelong New Yorker, and no one is complaining. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco city officials will unveil a statue on Friday, Aug. 19, for a lifelong New Yorker. And I can’t imagine any San Franciscans complaining about honoring this particular outsider. The eight foot bronze monument depicts Tony Bennett, the man who made “I Left My Heart in San Francisco” an international hit.\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay”\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r6DUwMnDxEs'\n title='//www.youtube.com/embed/r6DUwMnDxEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“He’s been our ambassador around the world,” says San Francisco’s chief of protocol, Charlotte Mailliard Shultz.\u003c/p>\n\u003cp>Shultz and I talked a few days ago in the lobby of the Fairmont Hotel high on Nob Hill, where Bennett first sang the song at the \u003ca href=\"http://www.bayareacabaret.org/About-Us.html\" target=\"_blank\" rel=\"noopener\">Venetian Room \u003c/a>in 1961.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shultz helped raise the private funds to build the statue, which she says was a breeze because of how “I Left My Heart…” made the city sound like so romantic.\u003c/p>\n\u003cp>“That song resonates with people and they want to come here,” Shultz said. “And people who are from here say that’s my town. That’s my city.”\u003c/p>\n\u003cp>Bennett recorded the song in early 1962, over the objections of CBS boss Mitch Miller, as the B side on a 45. “I Left My Heart…” reached #19 on the Billboard Hot 100, and became Bennett’s trademark.\u003c/p>\n\u003cp>“I had hits before that song, and certainly a lot of hits afterward,” he told reporter \u003ca href=\"http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656\" target=\"_blank\" rel=\"noopener\">Bill Christine in a recent SF Weekly interview\u003c/a>, “But I never had a hit like that one. That song gave me international recognition.”\u003c/p>\n\u003cp>San Franciscans George Cory and Douglass Cross wrote “I Left My Heart…” as an act of “pure nostalgia” in 1953, while failing to make it as songwriters in New York City. The song would be their only big hit, but what a hit it was: the Recording Industry Association of America ranked “I Left My Heart…” 23rd on its list of the most historically significant Songs of the 20th Century.\u003c/p>\n\u003cp>San Francisco has honored Bennett before. The song is one of San Francisco’s two official anthems, and Bennett was given the key to the city in 2012, on the recording’s 50th anniversary. But with Bennett turning 90 this month, Schultz says she felt some urgency to do more.\u003c/p>\n\u003cp>“Because I think SF’s have a love for him, and why wait till he’s gone.” So she picked up the phone and called a friend, \u003ca href=\"http://brucewolfe.com/\" target=\"_blank\" rel=\"noopener\">sculptor Bruce Wolfe.\u003c/a>\u003c/p>\n\u003cp>“I had a month to do the whole statue, you know.” Wolfe told me a few days as we talked in his Piedmont studio. “So I did it in wet clay, as he sat here.\u003c/p>\n\u003cfigure id=\"attachment_11936155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11936155\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg\" alt=\"Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett's head. To Wolfe's right is a model for a bust he's working on of former mayor Gavin Newsom.\" width=\"800\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-800x542.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-400x271.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1180x799.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-1920x1300.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/IMG_3353-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe poses with the plaster cast of Tony Bennett’s head. To Wolfe’s right is a model for a bust he’s working on of former mayor Gavin Newsom. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You see the armature over there,” Wolfe went on, “It’s rebar, and I had 1500 pounds of clay on that sucker by the time it was done. That’s a lot of clay.”\u003c/p>\n\u003cp>Wolfe has given Bennett a characteristic half smile, arms outstretched like he’s finishing a song.\u003c/p>\n\u003cp>“What I tried to get from him,” Wolfe said, “was a feeling of the graciousness… The love of singing… that look he has, when he comes and belts something out. Wow. He puts his heart into it.”\u003c/p>\n\u003cp>Bennett will appear, and maybe sing, at three events in his honor late this week: the unveiling of the bronze statue at noon in front of the Fairmont, at AT&T Park that night, and at a fundraiser Saturday for the benefit of emergency pediatric care at Zuckerberg San Francisco General Hospital.\u003c/p>\n\u003cp>\u003cb>Here are the deceptively simple lyrics to “I Left My Heart in San Francisco”:\u003c/b>\u003c/p>\n\u003cp>\u003cem>“The loveliness of Paris seems somehow sadly gray\u003c/em>\u003cbr>\n\u003cem>The glory that was Rome is of another day\u003c/em>\u003cbr>\n\u003cem>I’ve been terribly alone and forgotten in Manhattan\u003c/em>\u003cbr>\n\u003cem>I’m going home to my city by the Bay\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I left my heart in San Francisco\u003c/em>\u003cbr>\n\u003cem>High on a hill, it calls to me\u003c/em>\u003cbr>\n\u003cem>To be where little cable cars climb halfway to the stars\u003c/em>\u003cbr>\n\u003cem>The morning fog may chill the air, I don’t care\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>“My love waits there in San Francisco\u003c/em>\u003cbr>\n\u003cem>Above the blue and windy sea\u003c/em>\u003cbr>\n\u003cem>“When I come home to you, San Francisco\u003c/em>\u003cbr>\n\u003cem> Your golden sun will shine for me.”\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A federal appeals court on Monday rejected Bill Cosby’s effort to reseal his deposition testimony about extramarital affairs, prescription sedatives and payments to women, saying the documents are now a matter of public knowledge.\u003c/p>\n\u003cp>The 3rd U.S. Circuit Court of Appeals in Philadelphia ruled that the comedian’s appeal was moot.\u003c/p>\n\u003cp>“The contents of the documents are a matter of public knowledge, and we cannot pretend that we could change that fact by ordering them resealed,” the court wrote in an opinion.\u003c/p>\n\u003cp>[contextly_sidebar id=”V1Sj4bywnqubOR65Bc9xTS7klFKwrwKg”]\u003c/p>\n\u003cp>Cosby’s attorneys hoped a ruling in their favor could help them keep the documents from being used in the criminal case against him in Pennsylvania and in the many lawsuits filed around the country by women who accuse him of sexual assault or defamation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby gave the testimony in 2005 as part of a lawsuit brought against him by Andrea Constand, a Temple University employee who said he drugged and molested her at his home. She later settled for an undisclosed sum, and sensitive documents in the file remained sealed.\u003c/p>\n\u003cp>In the nearly 1,000-page deposition, the married comic once known as “America’s Dad” for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show, \u003cem>The Cosby Show\u003c/em>, admitted to several extramarital affairs and said he obtained quaaludes to give to women he hoped to seduce.\u003c/p>\n\u003cp>The documents were released last year on a request from The Associated Press. U.S. District Judge Eduardo Robreno found the public had a right to Cosby’s testimony because of his role as a self-appointed “public moralist” and because he had denied accusations he drugged and molested women.\u003c/p>\n\u003cp>In Monday’s ruling, the appeals court questioned that “public moralist” rationale in releasing the documents, calling it “vague and undefined.”\u003c/p>\n\u003cp>“While we are without jurisdiction to review this question, it is worth noting that, if we could review it, we would have serious reservations about the District Court’s ‘public moralist’ rationale,” the opinion said.\u003c/p>\n\u003cp>In court papers, his lawyers argued that he had been assured confidentiality and that the “private and embarrassing testimony” would cause serious injury to Cosby, “who relies upon his reputation for his livelihood.”\u003c/p>\n\u003cp>Gayle C. Sproul, a lawyer for the AP, had argued against resealing the documents, saying that Cosby had not only spoken out on issues of marriage and morality but had also profited from them through books, TV shows and advertising.\u003c/p>\n\u003cp>Cosby’s lawyers had said a ruling in their favor would allow him to argue in the other cases against him that the testimony should never have been made public in the first place and should not be admitted as evidence.\u003c/p>\n\u003cp>The release of the deposition led prosecutors in suburban Philadelphia to revisit Constand’s 2005 police complaint and charge Cosby in December with felony sexual assault.\u003c/p>\n\u003cp>Cosby, 79, insists his sexual encounter with Constand in 2004 was consensual. He remains free on $1 million bail, and no trial date has been set.\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 federal appeals court on Monday rejected Bill Cosby’s effort to reseal his deposition testimony about extramarital affairs, prescription sedatives and payments to women, saying the documents are now a matter of public knowledge.\u003c/p>\n\u003cp>The 3rd U.S. Circuit Court of Appeals in Philadelphia ruled that the comedian’s appeal was moot.\u003c/p>\n\u003cp>“The contents of the documents are a matter of public knowledge, and we cannot pretend that we could change that fact by ordering them resealed,” the court wrote in an opinion.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Cosby’s attorneys hoped a ruling in their favor could help them keep the documents from being used in the criminal case against him in Pennsylvania and in the many lawsuits filed around the country by women who accuse him of sexual assault or defamation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosby gave the testimony in 2005 as part of a lawsuit brought against him by Andrea Constand, a Temple University employee who said he drugged and molested her at his home. She later settled for an undisclosed sum, and sensitive documents in the file remained sealed.\u003c/p>\n\u003cp>In the nearly 1,000-page deposition, the married comic once known as “America’s Dad” for his beloved portrayal of Dr. Cliff Huxtable on his top-ranked 1980s TV show, \u003cem>The Cosby Show\u003c/em>, admitted to several extramarital affairs and said he obtained quaaludes to give to women he hoped to seduce.\u003c/p>\n\u003cp>The documents were released last year on a request from The Associated Press. U.S. District Judge Eduardo Robreno found the public had a right to Cosby’s testimony because of his role as a self-appointed “public moralist” and because he had denied accusations he drugged and molested women.\u003c/p>\n\u003cp>In Monday’s ruling, the appeals court questioned that “public moralist” rationale in releasing the documents, calling it “vague and undefined.”\u003c/p>\n\u003cp>“While we are without jurisdiction to review this question, it is worth noting that, if we could review it, we would have serious reservations about the District Court’s ‘public moralist’ rationale,” the opinion said.\u003c/p>\n\u003cp>In court papers, his lawyers argued that he had been assured confidentiality and that the “private and embarrassing testimony” would cause serious injury to Cosby, “who relies upon his reputation for his livelihood.”\u003c/p>\n\u003cp>Gayle C. Sproul, a lawyer for the AP, had argued against resealing the documents, saying that Cosby had not only spoken out on issues of marriage and morality but had also profited from them through books, TV shows and advertising.\u003c/p>\n\u003cp>Cosby’s lawyers had said a ruling in their favor would allow him to argue in the other cases against him that the testimony should never have been made public in the first place and should not be admitted as evidence.\u003c/p>\n\u003cp>The release of the deposition led prosecutors in suburban Philadelphia to revisit Constand’s 2005 police complaint and charge Cosby in December with felony sexual assault.\u003c/p>\n\u003cp>Cosby, 79, insists his sexual encounter with Constand in 2004 was consensual. He remains free on $1 million bail, and no trial date has been set.\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": "Local Author's Post About Run-In with Arizona Highway Patrol Goes Viral [UPDATED]",
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"content": "\u003cp>\u003cb>Update Below:\u003c/b> \u003ci>Written Aug. 12, 11pm\u003c/i>\u003c/p>\n\u003cp>Around 2001, Kenneth Walton made headlines for trying to sell a forged Richard Diebenkorn painting, getting caught and then writing a memoir about the experience. Now the San Francisco-based author is in the news again, but this time for a viral Facebook post detailing his side of a run-in with Arizona’s Department of Public Safety (DPS).\u003c/p>\n\u003cp>As of 14 hours after Walton posted his story to Facebook, the post has been shared more than 2,500 times, one of the sharers being outspoken New York Daily News reporter Shaun King. \u003c/p>\n\u003cp>Early Friday morning, Walton posted that he had been pulled over by a highway patrol officer from Arizona’s DPS while driving to the Grand Canyon from Nevada with his daughter. Unfamiliar with the rental car he was driving, Walton said he had issues opening his passenger side window and the officer, growing impatient, pulled his weapon and threatened to shoot Walton.\u003c/p>\n\u003cblockquote>\u003cp>My daughter rolled down her window and I explained that we were in a rental car, that we had no weapons, and I was having trouble figuring out how to roll down the front passenger window from my driver’s side door. The officer didn’t listen, and kept yelling louder and more insistently, ordering me to comply with his request as he leered at me down the barrel of his pistol. My daughter panicked and tried to get out of her booster seat to reach forward to roll down the front window, and the officer screamed her at her not to move as he pointed his pistol at her.\u003c/p>\n\u003cp>Somehow I was able to get the window down, and then the officer ordered me to exit the car with my hands up. I did so slowly and with my hands raised as high in the air as possible, and as he came around to the driver’s side of the car he screamed at me to face away from him, as if I were doing something wrong. (I didn’t know this was the protocol for being arrested at gunpoint.) Then, as I had my hands in the air, he yelled, at the top of his lungs, in a voice I will never forget, as my daughter looked on in terror, “Get your hands away from your waist or I’ll blow two holes through your back right now!”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11928839\" class=\"wp-caption alignright\" style=\"max-width: 654px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11928839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg\" alt=\"Kenneth Walton and his daughter\" width=\"654\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg 654w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-400x367.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter.jpg 722w\" sizes=\"(max-width: 654px) 100vw, 654px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Walton and his daughter in 2016 \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walton says the police officer let him go after determining that he was not driving a stolen vehicle. But Walton’s daughter was traumatized by the incident. In his Facebook post, Walton named the officer who held him at gunpoint — Oton Villegas. Villegas joined the Arizonas DPS’ Highway Patrol in 2008, according to an Arizona Department of Public Safety \u003ca href=\"http://www.azdps.gov/Media/Digest/Home/View/?FileID=259\" target=\"_blank\" rel=\"noopener\">newsletter\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Ariz.DPS/\" target=\"_blank\" rel=\"noopener\">The Arizona DPS\u003c/a> has yet to respond to Walton’s accusations.\u003c/p>\n\u003cp>A lawyer-turned-businessman, Walton has helped build companies such as HammerTap and the social media game developer KlickNation, and is also the founder of the \u003ca href=\"http://streetfoto.org/\" target=\"_blank\" rel=\"noopener\">StreetFoto San Francisco\u003c/a> festival, an international street photography event.\u003c/p>\n\u003cp>But Walton is perhaps best known for his time as an online art dealer who used dozens of fake profiles to drive up the prices of his eBay auctions and who, in 2000, claimed that a painting he was selling might have been the work of the famous abstract expressionist Diebenkorn. Diebenkorn was a Berkeley resident when he died in 1993 and Walton reportedly bought the painting at a Berkeley garage sale.\u003c/p>\n\u003cp>In 2001, Walton and two other art dealers were arrested and charged with fraud for manipulating eBay auctions. He pleaded guilty in exchange for leniency and was sentenced to nine months probation. Walton also relinquished his law license.\u003c/p>\n\u003cp>In 2006, Simon & Schuster published \u003ci>Fake: Forgery, Lies, & eBay,\u003c/i> Walton’s memoir detailing his time as an online dealer of forged paintings, and his story was covered by publications such as the \u003cem>\u003ca href=\"http://partners.nytimes.com/library/tech/00/05/biztech/articles/10ebay.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> \u003c/em>and the \u003ca href=\"https://web.archive.org/web/20070107080240/http://dwb.sacbee.com/content/news/story/14251861p-15068114c.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacramento Bee\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Walton updated his post at 11pm Friday night with a response to critics of his story that included his case number:\u003c/p>\n\u003cblockquote>\u003cp> I get that many of you don’t believe my story. I’ve attached the AHP case number to this post in case you want to verify it. Arizona Highway Patrol district 2, Flagstaff. Officer Villegas, #7251. I have his card but I’m not going to post his personal information here. Check it if you want, but I doubt many of you will.\u003c/p>\n\u003cp>For the record, I don’t have an axe to grind with law enforcement. Nearly every interaction I’ve ever had with police in my life has been polite and professional. I’ve been a victim of violent crime and have been assisted by police officers who went beyond the call of duty to make me feel safe. I have immense respect for the job cops do and the danger they face. My daughter and I ended up in an unfortunate encounter with an officer that I believe responded in and excessive and unreasonable way, and it was terrifying. I wanted people to know about it, and know that what we encountered is an everyday reality for less privileged segments of our society. But I’m not trying to cast blame or disparage all police officers, most of whom are kind and decent people.\u003c/p>\u003c/blockquote>\n\u003cp>He also addressed his involvement in the eBay scandal:\u003c/p>\n\u003cblockquote>\u003cp>And for the record, yes, I was involved in an eBay art forgery scandal that came to light back in in 2000. I cooperated with the authorities, plead guilty, served 9 months of probation, and took responsibility for my actions. I make no excuses for it. If you think that has anything to do with this, there is nothing I can do to change your mind. I’ve also been a taxi driver, a lawyer, a city planner, a video game startup founder, a dad, and a street photographer, in case you want to hold any of those things against me.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Read Walton’s entire post below:\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10154366414123077&set=a.43585593076.53031.641348076\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Update Below:\u003c/b> \u003ci>Written Aug. 12, 11pm\u003c/i>\u003c/p>\n\u003cp>Around 2001, Kenneth Walton made headlines for trying to sell a forged Richard Diebenkorn painting, getting caught and then writing a memoir about the experience. Now the San Francisco-based author is in the news again, but this time for a viral Facebook post detailing his side of a run-in with Arizona’s Department of Public Safety (DPS).\u003c/p>\n\u003cp>As of 14 hours after Walton posted his story to Facebook, the post has been shared more than 2,500 times, one of the sharers being outspoken New York Daily News reporter Shaun King. \u003c/p>\n\u003cp>Early Friday morning, Walton posted that he had been pulled over by a highway patrol officer from Arizona’s DPS while driving to the Grand Canyon from Nevada with his daughter. Unfamiliar with the rental car he was driving, Walton said he had issues opening his passenger side window and the officer, growing impatient, pulled his weapon and threatened to shoot Walton.\u003c/p>\n\u003cblockquote>\u003cp>My daughter rolled down her window and I explained that we were in a rental car, that we had no weapons, and I was having trouble figuring out how to roll down the front passenger window from my driver’s side door. The officer didn’t listen, and kept yelling louder and more insistently, ordering me to comply with his request as he leered at me down the barrel of his pistol. My daughter panicked and tried to get out of her booster seat to reach forward to roll down the front window, and the officer screamed her at her not to move as he pointed his pistol at her.\u003c/p>\n\u003cp>Somehow I was able to get the window down, and then the officer ordered me to exit the car with my hands up. I did so slowly and with my hands raised as high in the air as possible, and as he came around to the driver’s side of the car he screamed at me to face away from him, as if I were doing something wrong. (I didn’t know this was the protocol for being arrested at gunpoint.) Then, as I had my hands in the air, he yelled, at the top of his lungs, in a voice I will never forget, as my daughter looked on in terror, “Get your hands away from your waist or I’ll blow two holes through your back right now!”\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11928839\" class=\"wp-caption alignright\" style=\"max-width: 654px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11928839\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg\" alt=\"Kenneth Walton and his daughter\" width=\"654\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-654x600.jpg 654w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter-400x367.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Walton-and-DAughter.jpg 722w\" sizes=\"(max-width: 654px) 100vw, 654px\">\u003cfigcaption class=\"wp-caption-text\">Kenneth Walton and his daughter in 2016 \u003ccite>(Photo: Courtesy of Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Walton says the police officer let him go after determining that he was not driving a stolen vehicle. But Walton’s daughter was traumatized by the incident. In his Facebook post, Walton named the officer who held him at gunpoint — Oton Villegas. Villegas joined the Arizonas DPS’ Highway Patrol in 2008, according to an Arizona Department of Public Safety \u003ca href=\"http://www.azdps.gov/Media/Digest/Home/View/?FileID=259\" target=\"_blank\" rel=\"noopener\">newsletter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/Ariz.DPS/\" target=\"_blank\" rel=\"noopener\">The Arizona DPS\u003c/a> has yet to respond to Walton’s accusations.\u003c/p>\n\u003cp>A lawyer-turned-businessman, Walton has helped build companies such as HammerTap and the social media game developer KlickNation, and is also the founder of the \u003ca href=\"http://streetfoto.org/\" target=\"_blank\" rel=\"noopener\">StreetFoto San Francisco\u003c/a> festival, an international street photography event.\u003c/p>\n\u003cp>But Walton is perhaps best known for his time as an online art dealer who used dozens of fake profiles to drive up the prices of his eBay auctions and who, in 2000, claimed that a painting he was selling might have been the work of the famous abstract expressionist Diebenkorn. Diebenkorn was a Berkeley resident when he died in 1993 and Walton reportedly bought the painting at a Berkeley garage sale.\u003c/p>\n\u003cp>In 2001, Walton and two other art dealers were arrested and charged with fraud for manipulating eBay auctions. He pleaded guilty in exchange for leniency and was sentenced to nine months probation. Walton also relinquished his law license.\u003c/p>\n\u003cp>In 2006, Simon & Schuster published \u003ci>Fake: Forgery, Lies, & eBay,\u003c/i> Walton’s memoir detailing his time as an online dealer of forged paintings, and his story was covered by publications such as the \u003cem>\u003ca href=\"http://partners.nytimes.com/library/tech/00/05/biztech/articles/10ebay.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> \u003c/em>and the \u003ca href=\"https://web.archive.org/web/20070107080240/http://dwb.sacbee.com/content/news/story/14251861p-15068114c.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Sacramento Bee\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cb>UPDATE:\u003c/b> Walton updated his post at 11pm Friday night with a response to critics of his story that included his case number:\u003c/p>\n\u003cblockquote>\u003cp> I get that many of you don’t believe my story. I’ve attached the AHP case number to this post in case you want to verify it. Arizona Highway Patrol district 2, Flagstaff. Officer Villegas, #7251. I have his card but I’m not going to post his personal information here. Check it if you want, but I doubt many of you will.\u003c/p>\n\u003cp>For the record, I don’t have an axe to grind with law enforcement. Nearly every interaction I’ve ever had with police in my life has been polite and professional. I’ve been a victim of violent crime and have been assisted by police officers who went beyond the call of duty to make me feel safe. I have immense respect for the job cops do and the danger they face. My daughter and I ended up in an unfortunate encounter with an officer that I believe responded in and excessive and unreasonable way, and it was terrifying. I wanted people to know about it, and know that what we encountered is an everyday reality for less privileged segments of our society. But I’m not trying to cast blame or disparage all police officers, most of whom are kind and decent people.\u003c/p>\u003c/blockquote>\n\u003cp>He also addressed his involvement in the eBay scandal:\u003c/p>\n\u003cblockquote>\u003cp>And for the record, yes, I was involved in an eBay art forgery scandal that came to light back in in 2000. I cooperated with the authorities, plead guilty, served 9 months of probation, and took responsibility for my actions. I make no excuses for it. If you think that has anything to do with this, there is nothing I can do to change your mind. I’ve also been a taxi driver, a lawyer, a city planner, a video game startup founder, a dad, and a street photographer, in case you want to hold any of those things against me.\u003c/p>\u003c/blockquote>\n\u003cp>\u003ci>Read Walton’s entire post below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They came from all over the U.S. to the small foothill town of O'Neals. Members of Indian tribes as far away as South Dakota converged for a powwow to help celebrate the 45th anniversary of the \u003ca href=\"http://sierramonomuseum.org/\">Sierra Mono Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the last two summers, wildfires forced cancellation of the \u003c/span>\u003cspan style=\"font-weight: 400\">long-standing \u003ca href=\"https://en.wikipedia.org/wiki/Pow_wow\">powwow\u003c/a>. But not this year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a big lawn in front of a local high school, a ring of tents surrounded a dance circle. Everyone seemed to know the rules: “Come in from the East -- that’s where the sun comes up -- and dance clockwise,” Richard Gonzalez explained. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“And everybody knows that you don’t run across. This is not a playground. The powwow circle is sacred, like a church,\" he said.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/278043358\" 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>\u003cspan style=\"font-weight: 400\">Gonzalez is Lipan Apache. He’s a Vietnam veteran visiting from Texas, but he grew up near here in Fresno. He and a handful of other vets led an opening procession around the circle. Then the dance competitions started.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Away from the contests, in the air-conditioned gym, 86-year-old North Fork Mono Indian Leona Chepo sat with a small group of vendors selling her hand-woven traditional baskets.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These intricate baskets made of deer grass and sedge root are what got this powwow started. “We were losing our baskets,” said Chepo. “People were stealing them from families and selling them for cheap, you know, for their beer.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That was in the late '60s, Chepo said, so she and a group of other Mono Indians began looking for a way to protect the baskets -- an important part of their heritage. They decided to start a museum. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11049384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Powwow2-800x584.jpg\" alt=\"The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \" width=\"800\" height=\"584\" class=\"size-medium wp-image-11049384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-800x584.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-400x292.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-1180x861.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \u003ccite>(The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To help fund their new endeavor, they got creative. Mono women showed others how to make acorn mush. They sold watermelon. And Chepo’s aunt made baskets while visitors watched.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"Once,\" Chepo said, “we made the ugliest beads you ever saw! Our first time to make medallions, they didn’t have no shape. And people bought them. I couldn’t believe it!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finally, they invited some dancers and it grew into a powwow from there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some 45 years later, it’s a local tradition -- and it’s part of a way of life for many Native Americans who spend weekends going to powwows across the country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At last weekend's event, there were Shawnee and Kiawah from Oklahoma, Apache from Texas and Chukchansi, Tachi Yokut and other tribes from all over California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Along the edge of the circle, 16-year-old Dylan Ashley was getting ready to dance. He’d come all the way from the Pine Ridge Indian Reservation in South Dakota. “We found out there’s a powwow, so we came to check it out,\" he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dylan is from the Oglala Lakota tribe. He was wearing a bustle made of eagle feathers, and a porcupine hair crest on his head. He was preparing to do a traditional dance. “When you’re dancing you’re telling a story,” he said. “You’re hunting or you’re going into a war.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He gripped his eagle talon staff and walked into the circle. He got low to the ground and stepped to the drumbeat while his little sister, Chelyse Hines, watched. “It just makes me feel very happy,” she said. “I love it!” When Dylan walked out, he was shiny with sweat and he couldn’t stop smiling.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He came with his aunt, Helene Gaddie, who said at home in South Dakota they dance all the time. But Dylan’s sisters live in California, and they rarely go to powwows. Gaddie is trying to change that by helping them learn to dance. She said it’s a way of strengthening their identity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You get to feel free, and know that no matter how hard the United States government tried to abolish native people, we’re still here.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Near the end of the first day of the powwow, Mono elder Leona Chepo was still sitting in the gym with her baskets. She laughed with her niece, Sandy Clark, about how the powwow barely breaks even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a lot of work and we’re tired,” Clark said, “but at the end of the day we love it.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Chepo taught Clark how to weave her own baskets, and in the powwow raffle this year, Clark’s basket was the top prize. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They came from all over the U.S. to the small foothill town of O'Neals. Members of Indian tribes as far away as South Dakota converged for a powwow to help celebrate the 45th anniversary of the \u003ca href=\"http://sierramonomuseum.org/\">Sierra Mono Museum\u003c/a>.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For the last two summers, wildfires forced cancellation of the \u003c/span>\u003cspan style=\"font-weight: 400\">long-standing \u003ca href=\"https://en.wikipedia.org/wiki/Pow_wow\">powwow\u003c/a>. But not this year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On a big lawn in front of a local high school, a ring of tents surrounded a dance circle. Everyone seemed to know the rules: “Come in from the East -- that’s where the sun comes up -- and dance clockwise,” Richard Gonzalez explained. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“And everybody knows that you don’t run across. This is not a playground. The powwow circle is sacred, like a church,\" he said.\u003c/span>\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/278043358&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/278043358'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gonzalez is Lipan Apache. He’s a Vietnam veteran visiting from Texas, but he grew up near here in Fresno. He and a handful of other vets led an opening procession around the circle. Then the dance competitions started.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Away from the contests, in the air-conditioned gym, 86-year-old North Fork Mono Indian Leona Chepo sat with a small group of vendors selling her hand-woven traditional baskets.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These intricate baskets made of deer grass and sedge root are what got this powwow started. “We were losing our baskets,” said Chepo. “People were stealing them from families and selling them for cheap, you know, for their beer.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That was in the late '60s, Chepo said, so she and a group of other Mono Indians began looking for a way to protect the baskets -- an important part of their heritage. They decided to start a museum. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11049384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/Powwow2-800x584.jpg\" alt=\"The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \" width=\"800\" height=\"584\" class=\"size-medium wp-image-11049384\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-800x584.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-400x292.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-1180x861.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/Powwow2-960x701.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. \u003ccite>(The Sierra Mono Museum's 45th annual powwow started with a procession around the dance circle on Aug. 6. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To help fund their new endeavor, they got creative. Mono women showed others how to make acorn mush. They sold watermelon. And Chepo’s aunt made baskets while visitors watched.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"Once,\" Chepo said, “we made the ugliest beads you ever saw! Our first time to make medallions, they didn’t have no shape. And people bought them. I couldn’t believe it!”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finally, they invited some dancers and it grew into a powwow from there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some 45 years later, it’s a local tradition -- and it’s part of a way of life for many Native Americans who spend weekends going to powwows across the country.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At last weekend's event, there were Shawnee and Kiawah from Oklahoma, Apache from Texas and Chukchansi, Tachi Yokut and other tribes from all over California. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Along the edge of the circle, 16-year-old Dylan Ashley was getting ready to dance. He’d come all the way from the Pine Ridge Indian Reservation in South Dakota. “We found out there’s a powwow, so we came to check it out,\" he said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dylan is from the Oglala Lakota tribe. He was wearing a bustle made of eagle feathers, and a porcupine hair crest on his head. He was preparing to do a traditional dance. “When you’re dancing you’re telling a story,” he said. “You’re hunting or you’re going into a war.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He gripped his eagle talon staff and walked into the circle. He got low to the ground and stepped to the drumbeat while his little sister, Chelyse Hines, watched. “It just makes me feel very happy,” she said. “I love it!” When Dylan walked out, he was shiny with sweat and he couldn’t stop smiling.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He came with his aunt, Helene Gaddie, who said at home in South Dakota they dance all the time. But Dylan’s sisters live in California, and they rarely go to powwows. Gaddie is trying to change that by helping them learn to dance. She said it’s a way of strengthening their identity. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You get to feel free, and know that no matter how hard the United States government tried to abolish native people, we’re still here.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Near the end of the first day of the powwow, Mono elder Leona Chepo was still sitting in the gym with her baskets. She laughed with her niece, Sandy Clark, about how the powwow barely breaks even. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s a lot of work and we’re tired,” Clark said, “but at the end of the day we love it.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> Chepo taught Clark how to weave her own baskets, and in the powwow raffle this year, Clark’s basket was the top prize. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The ‘Negro Motorist Green Book’: Window on Yesterday, Lesson for Today",
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"content": "\u003cp>\u003cspan>C\u003c/span>andacy Taylor, a California writer and photographer, was looking for a new way to tell the tale of Route 66, the Mother Road that brought dirt-poor Dust Bowl migrants and generations of dreamers to the Golden State.\u003c/p>\n\u003cp>Taylor started driving the old federal highway back in the early 1990s while working \u003ca href=\"https://ww2.kqed.org/news/2016/08/13/the-green-book-project-route-66-candacy-taylor/\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"https://ww2.kqed.org/news/2016/08/13/the-green-book-project-route-66-candacy-taylor/\" target=\"_blank\" title=\"The ‘Negro Motorist Green Book’: Window on Yesterday, Lesson for Today\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"disqusTitle": "Fines For Meat Industry's Safety Problems Are 'Embarrassingly Low'",
"title": "Fines For Meat Industry's Safety Problems Are 'Embarrassingly Low'",
"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>\u003cstrong>Listen to the Story on All Things Considered:\u003c/strong>\u003cbr>\nhttp://pd.npr.org/anon.npr-mp3/npr/atc/2016/08/20160810_atc_slaughterhouses_often_face_meager_safety_violations_critics_say.mp3\u003c/p>\n\u003cp>On the worst day of Greta Horner's life, she was dressed in a burlap robe, waiting by the window for her husband to come home from work.\u003c/p>\n\u003cp>Ralph Horner, or Ed as his family calls him, should've been pulling in the driveway any minute that morning in June 2014, home from his overnight shift as a maintenance employee at the beef plant in Greeley, Colorado. It's owned by JBS, the world's largest meatpacker, with its North American headquarters a short drive from the Horners' home.\u003c/p>\n\u003cp>Instead, three cars – one from the coroner's office, one from the sheriff's office, one from JBS – turned down the long, dirt driveway.\u003c/p>\n\u003cp>\"They seemed to be going so slowly, and I thought this isn't good,\" she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She met the cars at the gate, already filled with dread.\u003c/p>\n\u003cp>\"They introduced themselves and I just said, 'Don't tell me. I don't even want to know. Don't tell me. Don't tell me.' Because I just knew.\"\u003c/p>\n\u003cp>Ed had died a few hours earlier. He was working alone deep in the bowels of the plant on a piece of equipment. It caught his hair and the sleeve of his shirt and pulled him in. His clothing bunched up around his neck and mouth. There, trapped under a conveyor belt, he suffocated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legacy.com/obituaries/journal-advocate/obituary.aspx?pid=171302993\">He was 54\u003c/a>, and left behind his wife, three sons and a grandchild.\u003c/p>\n\u003cp>For the hundreds of thousands of people who prepare beef, pork and poultry in this country, the workplace is a hazardous place. \u003ca href=\"http://www.gao.gov/extracts/e6f051ceecfbe6208fc92de4fd782ed1/rId20_image2.png\">Meat and poultry processing plants are safer\u003c/a> than they were a decade ago, government statistics show. But in today's slaughterhouses, some workers pay a steep price to produce our meat, sometimes with their lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The \u003c/em>(Modern) \u003cem>Jungle\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Today's beef, pork, and poultry plants function though a sort of organized chaos.\u003c/p>\n\u003cp>Workers use a mix of hydraulic saws, industrial blenders, marinade pumps, steel hooks, metal chains and conveyor belts to disassemble cattle, chickens and hogs, turning whole animals into cuts of meat. Line employees don smocks and chainmail to keep from cutting themselves or their coworkers. Mats line the floors to avoid slips on blood or water.\u003c/p>\n\u003cp>\u003ca href=\"http://jbssa.com/about/locations/?cat=beef\">The Greeley facility\u003c/a>, which \u003ca href=\"http://jbssa.com/about/history/\">JBS took over in 2007\u003c/a> with its purchase of Swift Foods, is a behemoth in the beef processing industry. Originally built in 1958, the facility's employees are able to slaughter and process upward of 5,600 head of cattle each day. It takes more 3,000 people to keep it up and running.\u003c/p>\n\u003cp>\"You're trying to manage a small city,\" says Doug Schult, a JBS USA human resources executive. \"When you take machinery and all those people, and those knives, you've got an environment that is risky. So you've got to accept that the risk is there. You don't have to accept that people get hurt along with it though.\"\u003c/p>\n\u003cp>The industry has changed drastically since the 1906 publication of \u003cem>The Jungle\u003c/em>, Upton Sinclair's muckraking novel that revealed poor food safety and workplace conditions in the Chicago stockyards. But people still get hurt or get killed.\u003c/p>\n\u003cp>Some 151 meat and poultry workers suffered fatal injuries from 2004 to 2013, according to \u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">a recent Government Accountability Office report \u003c/a>,\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\"> \u003c/a>w\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">h\u003c/a>i\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">c\u003c/a>h\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\"> \u003c/a>a\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">l\u003c/a>s\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">o\u003c/a> \u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">f\u003c/a>o\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">c\u003c/a>u\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">s\u003c/a>e\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">d\u003c/a> on the underreporting of injuries in this industry. Compare that to \u003ca href=\"http://www.bls.gov/iif/oshwc/cfoi/all_worker.pdf\">the 3,737 manufacturing facility workers \u003c/a> who died on the job during that same period, according to the U.S. Bureau of Labor Statistics.\u003c/p>\n\u003cp>Meat and poultry plants consistently report higher injury rates than the manufacturing industry overall, with beef and pork workers sustaining a higher rate of injuries and illnesses than poultry workers, according to U.S. Department of Labor data.\u003c/p>\n\u003cfigure id=\"attachment_111352\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498.jpg\" alt='Ralph \"Ed\" Horner is buried a short drive from his rural Larimer County home.' width=\"2000\" height=\"1332\" class=\"size-full wp-image-111352\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-960x639.jpg 960w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ralph \"Ed\" Horner is buried a short drive from his rural Larimer County home. \u003ccite>(Dan Boyce/Rocky Mountain PBS for Harvest Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Government safety regulators recognize the risk inherent in meatpacking. The Greeley plant is under the jurisdiction of the Occupational Safety and Health Administration's Denver office, and a subject for the team of inspectors there who check workplaces for violations of federal safety standards.\u003c/p>\n\u003cp>\u003cstrong>'Embarrassingly Low' Fines\u003c/strong>\u003c/p>\n\u003cp>Ed Horner's death triggered a flurry of activity for those government regulators.\u003c/p>\n\u003cp>The law required the conveyor belt he was working on to be covered with a guard, meant to prevent such accidents. If OSHA catches it on an inspection, an absent guard brings a fine. A missing machine guard remains a highly cited violation from OSHA, especially in heavy industries like manufacturing, construction, and meatpacking. Both OSHA officials and industry representatives agree, they're easy to miss.\u003c/p>\n\u003cp>In Horner's case, \u003ca href=\"https://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=NEWS_RELEASES&p_id=27114\">OSHA scolded JBS in a press release\u003c/a> after the incident, saying the company should have known better. His death could've been prevented, the release said.\u003c/p>\n\u003cp>Even with the strong language, the final fine for the violations that led to Ed Horner's death totaled $38,500.\u003c/p>\n\u003cp>\"Yes, it's embarrassingly low,\" says \u003ca href=\"http://www.nelp.org/expert/senior-fellow-worker-safety-health/\">Debbie Berkowitz\u003c/a>, a fellow with the National Employment Law Project, and a former senior OSHA official. \"And because of that it's unclear what kind of deterrent effect it really has.\"\u003c/p>\n\u003cp>Compare that to other federal agencies that levy fines, Berkowitz says. If that same plant was found to be polluting a nearby river, the fines from the Environmental Protection Agency could be in the hundreds of thousands of dollars.\u003c/p>\n\u003cp>The Greeley plant had a history of missing or lacking machine guards. \u003ca href=\"https://www.osha.gov/pls/imis/establishment.inspection_detail?id=311908982\">During an inspection in 2008\u003c/a>, the facility racked up serious violations for lacking machine guards, among other citations. Fines for those violations totaled $22,000, settled down from an original fine of $32,100. Inspectors recorded machine guard violations in 2012 as well, earning the company \u003ca href=\"https://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=NEWS_RELEASES&p_id=24132\">$83,414 in penalties\u003c/a>. After contesting the violations, JBS \u003ca href=\"https://www.osha.gov/pls/imis/establishment.inspection_detail?id=794801.015\">ended up paying $64,668\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://relatorioanual.jbs.com.br/en/scenario/\">In 2014, JBS S.A\u003c/a>., the Brazilian parent company for its North American arm, reported about $38 billion in net revenue, and earned about $650 million in profit.\u003c/p>\n\u003cp>OSHA decided to make the company's problems with machine guarding even more public in 2016. As a part of the settlement related to Ed Horner's death, OSHA placed the company on a publicly-available list of companies that have \"demonstrated indifference\" to federal safety standards, called the \u003ca href=\"https://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=DIRECTIVES&p_id=4503\">Severe Violator Enforcement Program\u003c/a>. JBS will remain on it for three years and be subject to more inspections and more OSHA oversight.\u003c/p>\n\u003cp>The $38,500 fine JBS paid for the violations that led to Ed Horner's death was higher than most, says Herb Gibson, OSHA area director for its Denver office.\u003c/p>\n\u003cp>The agency assesses fines based on violations to the \u003ca href=\"https://www.osha.gov/pls/oshaweb/owasrch.search_form%3Fp_doc_type=OSHACT\">Occupational Safety and Health Act of 1970\u003c/a>, not based on injuries or fatalities, Gibson says.\u003c/p>\n\u003cp>For the first time in 25 years, OSHA fines are \u003ca href=\"https://www.osha.gov/penalties.html\">set to increase in August 2016\u003c/a>. In 1990 other federal agencies were given permission to raise penalty amounts tied to the rate of inflation. OSHA wasn't given that permission, and Berkowitz says that's left the agency unable to financially punish bad actors. Any increase to OSHA penalties must go through Congress.\u003c/p>\n\u003cp>As for acting as a watchdog to the country's hundreds of meat and poultry plants, large and small, OSHA officials, current and past, say they're limited by the agency's tight resources. About 2,000 inspectors are tasked with keeping the country's millions of workplaces safe and illness-free.\u003c/p>\n\u003cp>\"Unfortunately, it would take OSHA a hundred years to get to every workplace, just once to inspect,\" Debbie Berkowitz says. \"So really a lot is up to the company.\"\u003c/p>\n\u003cp>\u003cstrong>Four Deaths\u003c/strong>\u003c/p>\n\u003cp>Early in 2014, JBS executives in Greeley were looking over their injury rates and feeling optimistic.\u003c/p>\n\u003cp>Over the last several years they'd been able to limit certain problems, measured using a rate based on how many serious injuries workers sustained and caused them to miss work. Since JBS took over the Greeley plant in 2007, the rate had been declining. It was good news.\u003c/p>\n\u003cp>Then came the summer of 2014, when JBS and its affiliated companies in North America had four worker deaths in a five-month span, stretching from the summer into early fall.\u003c/p>\n\u003cp>\"The summer of 2014 told us that while the figures said one thing, something more systemic, more foundational broke,\" says \u003ca href=\"http://jbssa.com/about/leadership/\">Chris Gaddis\u003c/a>, a JBS human resources executive.\u003c/p>\n\u003cp>Two months after Ed Horner's death in Colorado, tragedy struck again at the Pilgrim's Pride poultry plant in Nacogdoches, Texas, when employee Bobby Beall \u003ca href=\"http://www.meatpoultry.com/articles/news_home/Business/2014/08/Pilgrims_worker_dies_at_plant.aspx?ID=%7BCECF99F6-B7FA-4BCE-A221-FF919C28091B%7D\">was electrocuted\u003c/a>. JBS USA owns a controlling interest in the poultry processor with plants scattered across the southern U.S. \u003ca href=\"http://www.obitsforlife.com/obituary/955604/Beall-Bobby-Joe.php\">Beall's obituary\u003c/a> notes he enjoyed hunting and fishing, and was known around the poultry facility for sharing candy with his coworkers.\u003c/p>\n\u003cp>One month later in September, a JBS employee in Alberta, Canada, Christopher Harper, succumbed to severe burns he sustained from \u003ca href=\"http://www.calgarysun.com/2014/08/21/pipe-burst-wounds-employee-at-brooks-plant\">a burst steam pipe\u003c/a> while working at the company's beef plant in the small town of Brooks. Being a devout hockey fan, \u003ca href=\"http://www.hffs.com/memsol.cgi?user_id=1427096\">Harper's obituary\u003c/a> requests donations in his memory be sent to the local junior league, the Brooks Bandits.\u003c/p>\n\u003cp>In October, Pablo Lopez Romero of Mount Pleasant, Texas died while working at the Pilgrim's Pride plant there. \u003ca href=\"http://bizwest.com/employee-killed-pilgrims-pride-texas-plant/\">A large piece of ice\u003c/a> fell on Romero's neck and chest, killing him. \u003ca href=\"http://www.currywelborn.com/fh/obituaries/obituary.cfm?o_id=2752298&fh_id=12129\">Lopez Romero's obituary\u003c/a> says he left behind a wife of 35 years and two grandchildren.\u003c/p>\n\u003cp>It was a string of tragic events, each one exposing hazards and safety lapses at the plants involved, and a problem that would take much longer to address than simply adding new guards to machinery or rolling out a new training regimen. JBS had a cultural problem, and executives agreed it would take more than additional OSHA visits to fix it.\u003c/p>\n\u003cp>\"No fine could've created as much change and momentum towards improvement as losing a team member,\" Gaddis says.\u003c/p>\n\u003cp>\"We don't need OSHA to come in and find this stuff, we need to find it ourselves,\" Schult adds.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003cstrong>Blind Spots In The Plant\u003c/strong>\u003c/p>\n\u003cp>Ed Horner died in a secluded maintenance room, tucked away in a portion of the plant few employees move through. He had climbed underneath a moving conveyor belt. JBS supervisors and executives simply hadn't identified it as a hazard.\u003c/p>\n\u003cp>\"It involved guarding of a piece of equipment that we had not, frankly, focused on in the past,\" Schult says.\u003c/p>\n\u003cp>Not only was JBS losing workers in that fivemonth span in 2014, but safety blind spots were staying hidden until tragedy struck.\u003c/p>\n\u003cp>Realizing that a certain amount of complacency and comfort in their own safety protocols may have led to a situation that put a worker at risk, Chris Gaddis, the HR exec, says the company reacted, calling in a third-party risk assessment team to find additional hazards, and looked at changing internal policies to encourage reporting safety problems, rather than stifle them.\u003c/p>\n\u003cp>For years JBS had functioned under a \"cardinal rule\" policy, where a list of rules guided employees on what to do to stay safe on the job. Break a rule, and you're fired. Zero tolerance.\u003c/p>\n\u003cp>But employees were understandably hesitant to come forward if they saw or participated in unsafe activities, knowing their report could get themselves, or their coworkers terminated. That led to a situation where injuries and unsafe actions were covered up and underreported.\u003c/p>\n\u003cp>\"[The cardinal rule policy] was intended to create an environment that upheld safety, but it had this unintended consequence of undermining safety,\" Gaddis says.\u003c/p>\n\u003cp>Now employees are given a strike when breaking one of the rules, and instead of being fired they're given the ability to learn from a mistake, even act as a safety ambassador for other employees.\u003c/p>\n\u003cp>The company also realized that to find unseen, lurking hazards it needed to be less insular, more welcoming of new sets of eyes. The Greeley plant has often been a tour stop for Colorado business groups. In June 2015 it was opened \u003ca href=\"http://www.kunc.org/post/inside-world-s-largest-food-company-you-ve-probably-never-heard\">for the first time\u003c/a> to a sizable group of journalists. More eyes, more inspections, more points of view should mean a safer plant, Schult says.\u003c/p>\n\u003cfigure id=\"attachment_111353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e.jpg\" alt=\"An OSHA photograph shows changes made to the conveyor belt at the JBS beef processing plant in Greeley, Colorado, that killed Ed Horner. It's now covered in a metal mesh.\" width=\"2000\" height=\"1499\" class=\"size-full wp-image-111353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-1440x1079.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-1180x884.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-960x720.jpg 960w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An OSHA photograph shows changes made to the conveyor belt at the JBS beef processing plant in Greeley, Colorado, that killed Ed Horner. It's now covered in a metal mesh. \u003ccite>(Luke Runyon/Harvest Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"To me that was the biggest learning that came out of this. We're still missing some of these things that we should be seeing, how can we not be seeing them?\"\u003c/p>\n\u003cp>\u003cstrong>More Than A Statistic\u003c/strong>\u003c/p>\n\u003cp>All it took was one unseen trap for Ed Horner to lose his life. One piece of wire mesh over that spinning conveyor belt could've saved his life.\u003c/p>\n\u003cp>The Horners' lives were intimately connected to meatpacking. The couple met in a beef plant back in the early 1980s, both working on the floor of a small plant in Sterling, Colorado. Greta took the job because it paid better than waiting tables or clerking at a gas station. Yes, it had added dangers, but it paid the bills, and gave her a living wage, the same calculation the hundreds of thousands of meatpacking workers make today.\u003c/p>\n\u003cp>After years of working as an electrician outside the beef industry, that's inevitably what took Ed back to the business shortly before he died.\u003c/p>\n\u003cp>Ultimately what surprised her the most was just how preventable her husband's death actually was. She hopes leaders at JBS learn a lesson.\u003c/p>\n\u003cp>\"They need to realize that everybody that works there is a human being with a life and it's not just a statistic, it's a person,\" she says.\u003c/p>\n\u003cp>\"Their employees aren't cattle that go through the chutes. They're people with families.\"\u003c/p>\n\u003cp>\u003cem>Luke Runyon reports for \u003ca href=\"http://harvestpublicmedia.org/\">Harvest Public Media\u003c/a> and is based at member station KUNC in Greeley, Colo.\u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Slaughterhouses, while safer than decades ago, are some of the country's most hazardous workplaces. They are fined by the government for safety violations, but those fines may not be big enough.",
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"description": "Slaughterhouses, while safer than decades ago, are some of the country's most hazardous workplaces. They are fined by the government for safety violations, but those fines may not be big enough.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Listen to the Story on All Things Considered:\u003c/strong>\u003cbr>\nhttp://pd.npr.org/anon.npr-mp3/npr/atc/2016/08/20160810_atc_slaughterhouses_often_face_meager_safety_violations_critics_say.mp3\u003c/p>\n\u003cp>On the worst day of Greta Horner's life, she was dressed in a burlap robe, waiting by the window for her husband to come home from work.\u003c/p>\n\u003cp>Ralph Horner, or Ed as his family calls him, should've been pulling in the driveway any minute that morning in June 2014, home from his overnight shift as a maintenance employee at the beef plant in Greeley, Colorado. It's owned by JBS, the world's largest meatpacker, with its North American headquarters a short drive from the Horners' home.\u003c/p>\n\u003cp>Instead, three cars – one from the coroner's office, one from the sheriff's office, one from JBS – turned down the long, dirt driveway.\u003c/p>\n\u003cp>\"They seemed to be going so slowly, and I thought this isn't good,\" she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She met the cars at the gate, already filled with dread.\u003c/p>\n\u003cp>\"They introduced themselves and I just said, 'Don't tell me. I don't even want to know. Don't tell me. Don't tell me.' Because I just knew.\"\u003c/p>\n\u003cp>Ed had died a few hours earlier. He was working alone deep in the bowels of the plant on a piece of equipment. It caught his hair and the sleeve of his shirt and pulled him in. His clothing bunched up around his neck and mouth. There, trapped under a conveyor belt, he suffocated.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legacy.com/obituaries/journal-advocate/obituary.aspx?pid=171302993\">He was 54\u003c/a>, and left behind his wife, three sons and a grandchild.\u003c/p>\n\u003cp>For the hundreds of thousands of people who prepare beef, pork and poultry in this country, the workplace is a hazardous place. \u003ca href=\"http://www.gao.gov/extracts/e6f051ceecfbe6208fc92de4fd782ed1/rId20_image2.png\">Meat and poultry processing plants are safer\u003c/a> than they were a decade ago, government statistics show. But in today's slaughterhouses, some workers pay a steep price to produce our meat, sometimes with their lives.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The \u003c/em>(Modern) \u003cem>Jungle\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Today's beef, pork, and poultry plants function though a sort of organized chaos.\u003c/p>\n\u003cp>Workers use a mix of hydraulic saws, industrial blenders, marinade pumps, steel hooks, metal chains and conveyor belts to disassemble cattle, chickens and hogs, turning whole animals into cuts of meat. Line employees don smocks and chainmail to keep from cutting themselves or their coworkers. Mats line the floors to avoid slips on blood or water.\u003c/p>\n\u003cp>\u003ca href=\"http://jbssa.com/about/locations/?cat=beef\">The Greeley facility\u003c/a>, which \u003ca href=\"http://jbssa.com/about/history/\">JBS took over in 2007\u003c/a> with its purchase of Swift Foods, is a behemoth in the beef processing industry. Originally built in 1958, the facility's employees are able to slaughter and process upward of 5,600 head of cattle each day. It takes more 3,000 people to keep it up and running.\u003c/p>\n\u003cp>\"You're trying to manage a small city,\" says Doug Schult, a JBS USA human resources executive. \"When you take machinery and all those people, and those knives, you've got an environment that is risky. So you've got to accept that the risk is there. You don't have to accept that people get hurt along with it though.\"\u003c/p>\n\u003cp>The industry has changed drastically since the 1906 publication of \u003cem>The Jungle\u003c/em>, Upton Sinclair's muckraking novel that revealed poor food safety and workplace conditions in the Chicago stockyards. But people still get hurt or get killed.\u003c/p>\n\u003cp>Some 151 meat and poultry workers suffered fatal injuries from 2004 to 2013, according to \u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">a recent Government Accountability Office report \u003c/a>,\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\"> \u003c/a>w\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">h\u003c/a>i\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">c\u003c/a>h\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\"> \u003c/a>a\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">l\u003c/a>s\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">o\u003c/a> \u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">f\u003c/a>o\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">c\u003c/a>u\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">s\u003c/a>e\u003ca href=\"http://www.gao.gov/assets/680/676796.pdf\">d\u003c/a> on the underreporting of injuries in this industry. Compare that to \u003ca href=\"http://www.bls.gov/iif/oshwc/cfoi/all_worker.pdf\">the 3,737 manufacturing facility workers \u003c/a> who died on the job during that same period, according to the U.S. Bureau of Labor Statistics.\u003c/p>\n\u003cp>Meat and poultry plants consistently report higher injury rates than the manufacturing industry overall, with beef and pork workers sustaining a higher rate of injuries and illnesses than poultry workers, according to U.S. Department of Labor data.\u003c/p>\n\u003cfigure id=\"attachment_111352\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498.jpg\" alt='Ralph \"Ed\" Horner is buried a short drive from his rural Larimer County home.' width=\"2000\" height=\"1332\" class=\"size-full wp-image-111352\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/gravestone_edoted_enl-9f541c37458876512f6c81c030b47ba0d3abb498-960x639.jpg 960w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ralph \"Ed\" Horner is buried a short drive from his rural Larimer County home. \u003ccite>(Dan Boyce/Rocky Mountain PBS for Harvest Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Government safety regulators recognize the risk inherent in meatpacking. The Greeley plant is under the jurisdiction of the Occupational Safety and Health Administration's Denver office, and a subject for the team of inspectors there who check workplaces for violations of federal safety standards.\u003c/p>\n\u003cp>\u003cstrong>'Embarrassingly Low' Fines\u003c/strong>\u003c/p>\n\u003cp>Ed Horner's death triggered a flurry of activity for those government regulators.\u003c/p>\n\u003cp>The law required the conveyor belt he was working on to be covered with a guard, meant to prevent such accidents. If OSHA catches it on an inspection, an absent guard brings a fine. A missing machine guard remains a highly cited violation from OSHA, especially in heavy industries like manufacturing, construction, and meatpacking. Both OSHA officials and industry representatives agree, they're easy to miss.\u003c/p>\n\u003cp>In Horner's case, \u003ca href=\"https://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=NEWS_RELEASES&p_id=27114\">OSHA scolded JBS in a press release\u003c/a> after the incident, saying the company should have known better. His death could've been prevented, the release said.\u003c/p>\n\u003cp>Even with the strong language, the final fine for the violations that led to Ed Horner's death totaled $38,500.\u003c/p>\n\u003cp>\"Yes, it's embarrassingly low,\" says \u003ca href=\"http://www.nelp.org/expert/senior-fellow-worker-safety-health/\">Debbie Berkowitz\u003c/a>, a fellow with the National Employment Law Project, and a former senior OSHA official. \"And because of that it's unclear what kind of deterrent effect it really has.\"\u003c/p>\n\u003cp>Compare that to other federal agencies that levy fines, Berkowitz says. If that same plant was found to be polluting a nearby river, the fines from the Environmental Protection Agency could be in the hundreds of thousands of dollars.\u003c/p>\n\u003cp>The Greeley plant had a history of missing or lacking machine guards. \u003ca href=\"https://www.osha.gov/pls/imis/establishment.inspection_detail?id=311908982\">During an inspection in 2008\u003c/a>, the facility racked up serious violations for lacking machine guards, among other citations. Fines for those violations totaled $22,000, settled down from an original fine of $32,100. Inspectors recorded machine guard violations in 2012 as well, earning the company \u003ca href=\"https://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=NEWS_RELEASES&p_id=24132\">$83,414 in penalties\u003c/a>. After contesting the violations, JBS \u003ca href=\"https://www.osha.gov/pls/imis/establishment.inspection_detail?id=794801.015\">ended up paying $64,668\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"http://relatorioanual.jbs.com.br/en/scenario/\">In 2014, JBS S.A\u003c/a>., the Brazilian parent company for its North American arm, reported about $38 billion in net revenue, and earned about $650 million in profit.\u003c/p>\n\u003cp>OSHA decided to make the company's problems with machine guarding even more public in 2016. As a part of the settlement related to Ed Horner's death, OSHA placed the company on a publicly-available list of companies that have \"demonstrated indifference\" to federal safety standards, called the \u003ca href=\"https://www.osha.gov/pls/oshaweb/owadisp.show_document?p_table=DIRECTIVES&p_id=4503\">Severe Violator Enforcement Program\u003c/a>. JBS will remain on it for three years and be subject to more inspections and more OSHA oversight.\u003c/p>\n\u003cp>The $38,500 fine JBS paid for the violations that led to Ed Horner's death was higher than most, says Herb Gibson, OSHA area director for its Denver office.\u003c/p>\n\u003cp>The agency assesses fines based on violations to the \u003ca href=\"https://www.osha.gov/pls/oshaweb/owasrch.search_form%3Fp_doc_type=OSHACT\">Occupational Safety and Health Act of 1970\u003c/a>, not based on injuries or fatalities, Gibson says.\u003c/p>\n\u003cp>For the first time in 25 years, OSHA fines are \u003ca href=\"https://www.osha.gov/penalties.html\">set to increase in August 2016\u003c/a>. In 1990 other federal agencies were given permission to raise penalty amounts tied to the rate of inflation. OSHA wasn't given that permission, and Berkowitz says that's left the agency unable to financially punish bad actors. Any increase to OSHA penalties must go through Congress.\u003c/p>\n\u003cp>As for acting as a watchdog to the country's hundreds of meat and poultry plants, large and small, OSHA officials, current and past, say they're limited by the agency's tight resources. About 2,000 inspectors are tasked with keeping the country's millions of workplaces safe and illness-free.\u003c/p>\n\u003cp>\"Unfortunately, it would take OSHA a hundred years to get to every workplace, just once to inspect,\" Debbie Berkowitz says. \"So really a lot is up to the company.\"\u003c/p>\n\u003cp>\u003cstrong>Four Deaths\u003c/strong>\u003c/p>\n\u003cp>Early in 2014, JBS executives in Greeley were looking over their injury rates and feeling optimistic.\u003c/p>\n\u003cp>Over the last several years they'd been able to limit certain problems, measured using a rate based on how many serious injuries workers sustained and caused them to miss work. Since JBS took over the Greeley plant in 2007, the rate had been declining. It was good news.\u003c/p>\n\u003cp>Then came the summer of 2014, when JBS and its affiliated companies in North America had four worker deaths in a five-month span, stretching from the summer into early fall.\u003c/p>\n\u003cp>\"The summer of 2014 told us that while the figures said one thing, something more systemic, more foundational broke,\" says \u003ca href=\"http://jbssa.com/about/leadership/\">Chris Gaddis\u003c/a>, a JBS human resources executive.\u003c/p>\n\u003cp>Two months after Ed Horner's death in Colorado, tragedy struck again at the Pilgrim's Pride poultry plant in Nacogdoches, Texas, when employee Bobby Beall \u003ca href=\"http://www.meatpoultry.com/articles/news_home/Business/2014/08/Pilgrims_worker_dies_at_plant.aspx?ID=%7BCECF99F6-B7FA-4BCE-A221-FF919C28091B%7D\">was electrocuted\u003c/a>. JBS USA owns a controlling interest in the poultry processor with plants scattered across the southern U.S. \u003ca href=\"http://www.obitsforlife.com/obituary/955604/Beall-Bobby-Joe.php\">Beall's obituary\u003c/a> notes he enjoyed hunting and fishing, and was known around the poultry facility for sharing candy with his coworkers.\u003c/p>\n\u003cp>One month later in September, a JBS employee in Alberta, Canada, Christopher Harper, succumbed to severe burns he sustained from \u003ca href=\"http://www.calgarysun.com/2014/08/21/pipe-burst-wounds-employee-at-brooks-plant\">a burst steam pipe\u003c/a> while working at the company's beef plant in the small town of Brooks. Being a devout hockey fan, \u003ca href=\"http://www.hffs.com/memsol.cgi?user_id=1427096\">Harper's obituary\u003c/a> requests donations in his memory be sent to the local junior league, the Brooks Bandits.\u003c/p>\n\u003cp>In October, Pablo Lopez Romero of Mount Pleasant, Texas died while working at the Pilgrim's Pride plant there. \u003ca href=\"http://bizwest.com/employee-killed-pilgrims-pride-texas-plant/\">A large piece of ice\u003c/a> fell on Romero's neck and chest, killing him. \u003ca href=\"http://www.currywelborn.com/fh/obituaries/obituary.cfm?o_id=2752298&fh_id=12129\">Lopez Romero's obituary\u003c/a> says he left behind a wife of 35 years and two grandchildren.\u003c/p>\n\u003cp>It was a string of tragic events, each one exposing hazards and safety lapses at the plants involved, and a problem that would take much longer to address than simply adding new guards to machinery or rolling out a new training regimen. JBS had a cultural problem, and executives agreed it would take more than additional OSHA visits to fix it.\u003c/p>\n\u003cp>\"No fine could've created as much change and momentum towards improvement as losing a team member,\" Gaddis says.\u003c/p>\n\u003cp>\"We don't need OSHA to come in and find this stuff, we need to find it ourselves,\" Schult adds.\u003c/p>\n\u003cp>\u003cstrong> \u003c/strong>\u003cstrong>Blind Spots In The Plant\u003c/strong>\u003c/p>\n\u003cp>Ed Horner died in a secluded maintenance room, tucked away in a portion of the plant few employees move through. He had climbed underneath a moving conveyor belt. JBS supervisors and executives simply hadn't identified it as a hazard.\u003c/p>\n\u003cp>\"It involved guarding of a piece of equipment that we had not, frankly, focused on in the past,\" Schult says.\u003c/p>\n\u003cp>Not only was JBS losing workers in that fivemonth span in 2014, but safety blind spots were staying hidden until tragedy struck.\u003c/p>\n\u003cp>Realizing that a certain amount of complacency and comfort in their own safety protocols may have led to a situation that put a worker at risk, Chris Gaddis, the HR exec, says the company reacted, calling in a third-party risk assessment team to find additional hazards, and looked at changing internal policies to encourage reporting safety problems, rather than stifle them.\u003c/p>\n\u003cp>For years JBS had functioned under a \"cardinal rule\" policy, where a list of rules guided employees on what to do to stay safe on the job. Break a rule, and you're fired. Zero tolerance.\u003c/p>\n\u003cp>But employees were understandably hesitant to come forward if they saw or participated in unsafe activities, knowing their report could get themselves, or their coworkers terminated. That led to a situation where injuries and unsafe actions were covered up and underreported.\u003c/p>\n\u003cp>\"[The cardinal rule policy] was intended to create an environment that upheld safety, but it had this unintended consequence of undermining safety,\" Gaddis says.\u003c/p>\n\u003cp>Now employees are given a strike when breaking one of the rules, and instead of being fired they're given the ability to learn from a mistake, even act as a safety ambassador for other employees.\u003c/p>\n\u003cp>The company also realized that to find unseen, lurking hazards it needed to be less insular, more welcoming of new sets of eyes. The Greeley plant has often been a tour stop for Colorado business groups. In June 2015 it was opened \u003ca href=\"http://www.kunc.org/post/inside-world-s-largest-food-company-you-ve-probably-never-heard\">for the first time\u003c/a> to a sizable group of journalists. More eyes, more inspections, more points of view should mean a safer plant, Schult says.\u003c/p>\n\u003cfigure id=\"attachment_111353\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e.jpg\" alt=\"An OSHA photograph shows changes made to the conveyor belt at the JBS beef processing plant in Greeley, Colorado, that killed Ed Horner. It's now covered in a metal mesh.\" width=\"2000\" height=\"1499\" class=\"size-full wp-image-111353\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e.jpg 2000w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-1440x1079.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-1180x884.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/08/the-conveyor-belt_edited_enl-db042fa682bb9bc872f8a116ad9fd0caf175893e-960x720.jpg 960w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">An OSHA photograph shows changes made to the conveyor belt at the JBS beef processing plant in Greeley, Colorado, that killed Ed Horner. It's now covered in a metal mesh. \u003ccite>(Luke Runyon/Harvest Public Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"To me that was the biggest learning that came out of this. We're still missing some of these things that we should be seeing, how can we not be seeing them?\"\u003c/p>\n\u003cp>\u003cstrong>More Than A Statistic\u003c/strong>\u003c/p>\n\u003cp>All it took was one unseen trap for Ed Horner to lose his life. One piece of wire mesh over that spinning conveyor belt could've saved his life.\u003c/p>\n\u003cp>The Horners' lives were intimately connected to meatpacking. The couple met in a beef plant back in the early 1980s, both working on the floor of a small plant in Sterling, Colorado. Greta took the job because it paid better than waiting tables or clerking at a gas station. Yes, it had added dangers, but it paid the bills, and gave her a living wage, the same calculation the hundreds of thousands of meatpacking workers make today.\u003c/p>\n\u003cp>After years of working as an electrician outside the beef industry, that's inevitably what took Ed back to the business shortly before he died.\u003c/p>\n\u003cp>Ultimately what surprised her the most was just how preventable her husband's death actually was. She hopes leaders at JBS learn a lesson.\u003c/p>\n\u003cp>\"They need to realize that everybody that works there is a human being with a life and it's not just a statistic, it's a person,\" she says.\u003c/p>\n\u003cp>\"Their employees aren't cattle that go through the chutes. They're people with families.\"\u003c/p>\n\u003cp>\u003cem>Luke Runyon reports for \u003ca href=\"http://harvestpublicmedia.org/\">Harvest Public Media\u003c/a> and is based at member station KUNC in Greeley, Colo.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Amid Crackdown, China's Last Liberal Magazine Fights for Survival",
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"content": "\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just days after editors ended publication of China’s leading liberal history journal last month, a new edition of the magazine is out again. But the original publishers are calling this a pirate edition — and they’re preparing to fight it in court.\u003c/p>\n\u003cp>The magazine, the \u003cem>Annals of the Chinese Nation\u003c/em>, or \u003cem>Yanhuang Chunqiu\u003c/em> in Chinese, is seen as the standard bearer of the embattled liberal wing of China’s ruling Communist Party. The publication has made bold calls for democratic reforms and questions the party’s version of history.\u003c/p>\n\u003cp>The journal’s predicament has triggered a sense of crisis among China’s liberal intellectuals and journalists, who see little room left in their country for critical reporting and dissenting opinions.\u003c/p>\n\u003cp>In March, President Xi Jinping demanded obedience from state media. Last month, the government shut down a slew of political columns on major Internet portals in a bid to enforce a ban on independent political reporting.\u003c/p>\n\u003cp>The \u003cem>Annals\u003c/em>‘ deputy editor in chief, Wang Yanjun, ticks off a list of other liberal, critical media voices that the government has silenced in recent years, including some at the Southern Media Group and the \u003ca href=\"http://www.cyol.net/home/english/intro/daily.htm\" target=\"_blank\" rel=\"noopener\">China Youth Daily\u003c/a> column “Freezing Point.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They’ve killed off one outlet after another, leaving the \u003cem>Annals of the Chinese Nation\u003c/em> as the last bastion,” he says. “Readers cherish our magazine. Some have even taken it as a sign that there is still hope for China.”\u003c/p>\n\u003cp>\u003cstrong> ‘A question of whether we can still exist’\u003c/strong>\u003c/p>\n\u003cp>Wang says the magazine was forcibly taken over last month by its supervising organization, the National Academy of Arts, an official body under China’s Ministry of Culture.\u003c/p>\n\u003cp>In China, every media outlet is under the supervision of an official organization. None are completely independent.\u003c/p>\n\u003cp>Wang says representatives of the academy physically occupied the magazine’s offices, installed their own editors and even broke into the magazine’s computer systems and changed the password. Wang says this violated the terms of the magazine’s contract with the academy. He describes their actions as “barbaric.”\u003c/p>\n\u003cp>“Some folks commented that for an arts academy, they didn’t seem very artistic at all,” he harrumphs. “Unless, of course, it was some kind of performance art.”\u003c/p>\n\u003cp>Wang says the magazine has survived previous attempts to silence it, but this time is different.\u003c/p>\n\u003cp>“Before, it was a question of whether we were managed strictly or leniently,” he says. “Now it’s a question of whether we can still exist or not.”\u003c/p>\n\u003cp>None of the editors or advisers knows exactly who is behind the assault on their magazine or why it’s happening. But veteran jurist Li Buyun, an adviser to the magazine, says conservatives dislike the \u003cem>Annals of the Chinese Nation\u003c/em> simply because of its liberal bent.\u003c/p>\n\u003cp>“The magazine’s specialty is speaking the truth, especially about history, so that people may learn from it,” he says. “There’s no other motivation. We’re not trying to smear the party.”\u003c/p>\n\u003cfigure id=\"attachment_11920259\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg\" alt=\"A picture of Li Rui and his wife appears in the 'Annals of the Chinese Nation.' Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party.\" width=\"640\" height=\"480\" class=\"size-large wp-image-11920259\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/2334746-kuhn-3-0412a7b0fe001e8012bf26aaccbee6417920cab4-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A picture of Li Rui and his wife appears in the ‘Annals of the Chinese Nation.’ Li, 100, is a top adviser to the magazine and a godfather figure to liberals inside the Communist Party. \u003ccite>(Photo: Anthony Kuhn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a recent issue\u003cem>\u003c/em>, former culture minister Wang Meng called on China to reflect on the lessons of the Cultural Revolution of 1966 to 1976. In another issue, a former provincial police official explained how millions starved to death in his province after the “Great Leap Forward” campaign of 1958 to 1961.\u003c/p>\n\u003cp>And Li Rui, former secretary to Chairman Mao and the most senior adviser to the \u003cem>Annals\u003c/em>, looked back on his life on the occasion of his 100th birthday.\u003c/p>\n\u003cp>Conservatives believe the magazine has unfairly negated all of the Communist Party’s achievements — the current administration labels this “historical nihilism” and has vowed to root it out — while adulating Western, liberal values.\u003c/p>\n\u003cp>\u003cstrong>Unwilling to go down without a fight\u003c/strong>\u003c/p>\n\u003cp>The magazine was founded 25 years ago by a small group of retired officials, working on old school desks and chairs in an office near Beijing’s Forbidden City. Over the years, its circulation grew to some 190,000 copies a month.\u003c/p>\n\u003cp>The magazine’s publisher, Du Daozheng, now 93, is representative of the people who put out and read the magazine — mostly liberal establishment intellectuals. He joined the Communist Party in 1937 and served as chief editor of the \u003cem>Guangming Daily\u003c/em>, a newspaper catering to China’s intellectuals.\u003c/p>\n\u003cp>He later headed China’s Press and Publications Administration, which is part of the government’s censorship apparatus. Du held this post during the 1980s, under then-Party Secretary Zhao Ziyang. Media freedoms reached their height at that time — until Zhao was deposed in 1989 for siding with pro-democracy protesters in Tiananmen Square.\u003c/p>\n\u003cp>Many liberal party elders like Du willingly joined the Communist movement because they hoped that, as it promised, it would lead China to modernity, democracy, human rights and the rule of law. But, with occasional exceptions, one administration after another suppressed and disappointed them.\u003c/p>\n\u003cp>The administration of Xi Jinping is just the latest to do so.\u003c/p>\n\u003cp>Unwilling to go down without a fight, the magazine’s editors and advisers sued the National Academy of Arts last month for taking over their publication, but a Beijing district court refused to hear the case.\u003c/p>\n\u003cp>Mo Shaoping, one of China’s leading human rights lawyers — and one of the few, he jokes nervously, who has not been arrested in an ongoing crackdown — says that the ousted editors are now considering suing higher levels of the government.\u003c/p>\n\u003cp>The entire incident, he says, will serve as a political litmus test. If the party’s leadership “can’t even tolerate a magazine such as the \u003cem>Annals of the Chinese Nation\u003c/em>, then the leadership’s talk of the rule of law and of listening to different opinions is nothing but empty words,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The editors admit, though, that they’re having a hard time getting out their side of the story. The government has banned Chinese media from reporting the controversy surrounding the magazine. \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=Amid+Crackdown%2C+China%27s+Last+Liberal+Magazine+Fights+For+Survival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The family of a co-writer of Marvin Gaye’s “Let’s Get It On” is suing Ed Sheeran, claiming the British singer-songwriter’s hit, “Thinking Out Loud,” sounds too much like the soul classic.\u003c/p>\n\u003cp>The lawsuit filed by the family of Ed Townsend claims Sheeran copied the “heart” of “Let’s Get It On” and repeated it continuously throughout “Thinking Out Loud.” It says Sheeran continued to perform the song even after he was notified of the copyright infringement claim last year.\u003c/p>\n\u003cp>The family is demanding a jury trial and compensation for damages.\u003c/p>\n\u003cp>The suit also names “Thinking Out Loud” co-writer Amy Wadge, producer Jake Gosling, Sony/ATV Music Publishing, Atlantic Records, Warner Bros. and others.\u003c/p>\n\u003cp>Sheeran’s representatives didn’t immediately respond to a request for comment.\u003c/p>\n\u003cp>[ad fullwidth]\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>The family of a co-writer of Marvin Gaye’s “Let’s Get It On” is suing Ed Sheeran, claiming the British singer-songwriter’s hit, “Thinking Out Loud,” sounds too much like the soul classic.\u003c/p>\n\u003cp>The lawsuit filed by the family of Ed Townsend claims Sheeran copied the “heart” of “Let’s Get It On” and repeated it continuously throughout “Thinking Out Loud.” It says Sheeran continued to perform the song even after he was notified of the copyright infringement claim last year.\u003c/p>\n\u003cp>The family is demanding a jury trial and compensation for damages.\u003c/p>\n\u003cp>The suit also names “Thinking Out Loud” co-writer Amy Wadge, producer Jake Gosling, Sony/ATV Music Publishing, Atlantic Records, Warner Bros. and others.\u003c/p>\n\u003cp>Sheeran’s representatives didn’t immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Joani Blank, the founder of the Good Vibrations sex store, which opened its doors in the late 1970s in the Mission District and later added stores in the Bay Area and on the East Coast, died on Saturday at the age of 79.\u003c/p>\n\u003cp>Her daughter, Amika Sergejev, \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1679666935689626&id=100009390064977\" target=\"_blank\">wrote on Facebook\u003c/a> that Blank had been diagnosed with pancreatic cancer in June of this year and “chose to have a Celebration of Life rather than a funeral” late last month. After that celebration, Sergejev wrote, Blank “was able to say her goodbyes” to friends and family before facing “a rapid decline” in her condition.\u003c/p>\n\u003cfigure id=\"attachment_11047110\" class=\"wp-caption alignright\" style=\"max-width: 273px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/joani-blank.gif\" alt=\"Joani Blank shortly after establishing the first Good Vibrations in 1977.\" width=\"273\" height=\"400\" class=\"size-full wp-image-11047110\">\u003cfigcaption class=\"wp-caption-text\">Joani Blank shortly after establishing the first Good Vibrations in 1977. \u003ccite>(Courtesy of Joani Blank)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This fierce revolutionary woman has taught us all so much,” Sergejev wrote on Facebook. “She has done so many things in her full days here on earth and I know you all have stories.”\u003c/p>\n\u003cp>Blank started the first Good Vibrations at 22nd and Dolores streets in 1977 to offer an alternative to the seedy and male-dominated sex shops that were once the norm.\u003c/p>\n\u003cp>“Over and over, women would say they were afraid to go into one of those places,” said Carol Queen, the staff sexologist at Good Vibrations and an employee there for 26 years. “[Even] men would pop in and say, ‘Is it okay if I shop here?’ They would basically say, ‘I don’t like those places either.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read the full article at \u003ca href=\"http://missionlocal.org/2016/08/founder-of-good-vibrations-sex-store-dies/\" target=\"_blank\">Mission Local\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joani Blank, the founder of the Good Vibrations sex store, which opened its doors in the late 1970s in the Mission District and later added stores in the Bay Area and on the East Coast, died on Saturday at the age of 79.\u003c/p>\n\u003cp>Her daughter, Amika Sergejev, \u003ca href=\"https://www.facebook.com/permalink.php?story_fbid=1679666935689626&id=100009390064977\" target=\"_blank\">wrote on Facebook\u003c/a> that Blank had been diagnosed with pancreatic cancer in June of this year and “chose to have a Celebration of Life rather than a funeral” late last month. After that celebration, Sergejev wrote, Blank “was able to say her goodbyes” to friends and family before facing “a rapid decline” in her condition.\u003c/p>\n\u003cfigure id=\"attachment_11047110\" class=\"wp-caption alignright\" style=\"max-width: 273px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/joani-blank.gif\" alt=\"Joani Blank shortly after establishing the first Good Vibrations in 1977.\" width=\"273\" height=\"400\" class=\"size-full wp-image-11047110\">\u003cfigcaption class=\"wp-caption-text\">Joani Blank shortly after establishing the first Good Vibrations in 1977. \u003ccite>(Courtesy of Joani Blank)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This fierce revolutionary woman has taught us all so much,” Sergejev wrote on Facebook. “She has done so many things in her full days here on earth and I know you all have stories.”\u003c/p>\n\u003cp>Blank started the first Good Vibrations at 22nd and Dolores streets in 1977 to offer an alternative to the seedy and male-dominated sex shops that were once the norm.\u003c/p>\n\u003cp>“Over and over, women would say they were afraid to go into one of those places,” said Carol Queen, the staff sexologist at Good Vibrations and an employee there for 26 years. “[Even] men would pop in and say, ‘Is it okay if I shop here?’ They would basically say, ‘I don’t like those places either.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp class=\"x_MsoNormal\">The founder of the Bay Area’s annual gathering of the Deaf dancers and choreographers from around the world says you don’t need to hear music in order to be able to move to it.\u003c/p>\n\u003cp class=\"x_MsoNormal\">Antoine Hunter is one of the most high-profile dancers with hearing loss working in the United States today. He grew up in West Oakland, the son of a single mom. Hunter fell in love with dance at the age of five when he saw an Oakland Ballet production of \u003ci>The Nutcracker\u003c/i>. He wanted to start dancing right away, but his mother couldn’t afford to pay for classes. It wasn’t until he was in high school that Hunter could begin his education as a dancer.\u003c/p>\n\u003cp class=\"x_MsoNormal\">Since then, Hunter’s dance career has gone gangbusters. He has performed locally with Kim Epifano’s Trolley Dances and Robert Moses’ Kin Dance Company among others, as well as nationally, at the Kennedy Center and more. Today, Hunter is artistic director of Urban Jazz Dance and the founder of the Bay Area Deaf International Dance Festival. A passionate advocate for dance in the Deaf community, Hunter proves that you don’t need to be able to hear music to express yourself through movement.\u003c/p>\n\u003cp class=\"x_p1\">[contextly_sidebar id=”YFzmM8tT7UGHS0ekpMDrSrh33ohIByvk”] In anticipation of the 4\u003csup>th\u003c/sup> annual Bay Area International Deaf Dance Festival of 2016, KQED Arts sat down with Hunter to hear about his passion for dancing and what dance means for members of the Deaf community\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What inspired you to become a dancer? \u003c/strong>\u003cb>\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">God and my community. I didn’t expect to be a dancer. It was my calling before I could understand the full meaning of it. Being a dancer is like being a wizard. We create magical things. \u003c/span>\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>How is it possible to dance if you can’t hear the music?\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">It works in the same\u003cstrong> \u003c/strong>\u003cspan class=\"x_s1\">way that breathing works for all things that are alive. Whether you can hear or not, dancing is a spiritual, emotional and freeing thing. You just dance. You tap into the physical or spiritual plane of dance and it all comes out. This reminds me of Muhammad Ali and James Brown. When you see them dance, it’s about life.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is the most difficult part of being a dancer when you’re Deaf? \u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">We’re too attractive! They want us to do everything! Just kiddin’! My experience is of working with hearing artists who want me to do things that relate to sound, which can be challenging. Sometimes, artists say things like, “when you hear this, I want you to fall to the floor,” or, “when you hear the tempo change, I want you go faster.” Since I can’t hear these cues, I need to find a way to make this happen with any help. Not all companies are willing and able to give me cues. So I’ve got to make it happen myself\u003ci>. \u003c/i>\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your favorite music to dance to?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">Jazz, soul, pop and Afro music. I also love Mozart and a lot of country too.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What would you say to Deaf people who find it difficult to do what \u003cspan class=\"x_s1\">they want to do?\u003c/span>\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">I would ask them\u003cspan class=\"x_s1\"> a few questions: who are you doing it for? How much do you care about it? If the thing you want to do is worth living for, then you’re one step closer to your happiness.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What is your idea of perfect happiness?\u003c/strong>\u003cbr>\nSeeing me and my little girl Zula dancing with her mom Racha , and her brothers Zahn and Sol, like there is no tomorrow… Laughing until\u003cbr>\nour stomachs hurt. Then Seeing people dance with their families … I\u003cbr>\nlove seeing and feeling that.\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is your biggest dream?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">My biggest dream is to present the Deaf Dance Festival nationally. I want it to be a place for healing, education and empowerment. I also want to see Zula Hunter perform with Antoine Hunter.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">\u003ci>The Bay Area International Deaf Dance Festival runs Friday, Aug. 12 – Sunday, Aug. 14. For tickets and information, click \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=74f6c5810a704f98bf3d9c7429473bc1&URL=http%3a%2f%2fwww.brownpapertickets.com%2fevent%2f2561054\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/i>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">God and my community. I didn’t expect to be a dancer. It was my calling before I could understand the full meaning of it. Being a dancer is like being a wizard. We create magical things. \u003c/span>\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>How is it possible to dance if you can’t hear the music?\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">It works in the same\u003cstrong> \u003c/strong>\u003cspan class=\"x_s1\">way that breathing works for all things that are alive. Whether you can hear or not, dancing is a spiritual, emotional and freeing thing. You just dance. You tap into the physical or spiritual plane of dance and it all comes out. This reminds me of Muhammad Ali and James Brown. When you see them dance, it’s about life.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is the most difficult part of being a dancer when you’re Deaf? \u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">We’re too attractive! They want us to do everything! Just kiddin’! My experience is of working with hearing artists who want me to do things that relate to sound, which can be challenging. Sometimes, artists say things like, “when you hear this, I want you to fall to the floor,” or, “when you hear the tempo change, I want you go faster.” Since I can’t hear these cues, I need to find a way to make this happen with any help. Not all companies are willing and able to give me cues. So I’ve got to make it happen myself\u003ci>. \u003c/i>\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your favorite music to dance to?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">Jazz, soul, pop and Afro music. I also love Mozart and a lot of country too.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What would you say to Deaf people who find it difficult to do what \u003cspan class=\"x_s1\">they want to do?\u003c/span>\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">I would ask them\u003cspan class=\"x_s1\"> a few questions: who are you doing it for? How much do you care about it? If the thing you want to do is worth living for, then you’re one step closer to your happiness.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What is your idea of perfect happiness?\u003c/strong>\u003cbr>\nSeeing me and my little girl Zula dancing with her mom Racha , and her brothers Zahn and Sol, like there is no tomorrow… Laughing until\u003cbr>\nour stomachs hurt. Then Seeing people dance with their families … I\u003cbr>\nlove seeing and feeling that.\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is your biggest dream?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">My biggest dream is to present the Deaf Dance Festival nationally. I want it to be a place for healing, education and empowerment. I also want to see Zula Hunter perform with Antoine Hunter.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">\u003ci>The Bay Area International Deaf Dance Festival runs Friday, Aug. 12 – Sunday, Aug. 14. For tickets and information, click \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=74f6c5810a704f98bf3d9c7429473bc1&URL=http%3a%2f%2fwww.brownpapertickets.com%2fevent%2f2561054\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/i>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Taylor Swift is Asking Congress to Update Copyright Laws",
"headTitle": "Why Taylor Swift is Asking Congress to Update Copyright Laws | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/487291905/489218091\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Congress is in the midst of a review of the copyright laws to make sure they’re up to date. Some of the recording industry’s biggest stars, among them Taylor Swift, Katy Perry and Paul McCartney, recently \u003ca href=\"http://www.billboard.com/articles/news/7408970/taylor-swift-paul-mccartney-180-artists-signing-petition-digital\" target=\"_blank\" rel=\"noopener\">signed a letter\u003c/a> urging lawmakers to make reforms.\u003c/p>\n\u003cp>The artists say that aspects of the law, which were written in the late 1990s, make it too easy for tech companies to ignore rampant piracy on their sites and put too much responsibility on the artists themselves to find the illegal music files.\u003c/p>\n\u003cp>It may be hard to feel sorry for high-profile artists like Taylor Swift — but you might feel bad for Sam Rosenthal, who runs a small independent label, Projekt Records. He’s been making a living as a musician and producer of electronic music for 30 years. Over the last decade, he says he’s struggled to keep his business alive.\u003c/p>\n\u003cp>“It involves continuously finding more ways to save and downsizing. And trying to keep ahead of the decline basically,” Rosenthal says. “I had 11 people working for me in the ’90s and now I have two part-time people working for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \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=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like a lot of people in the music business, Rosenthal puts the blame on rampant online piracy. He points to one of the electronic musicians that he produces, \u003ca href=\"http://www.steveroach.com/\">Steve Roach\u003c/a>.\u003c/p>\n\u003cp>“He’s pretty much lived his life to create art. He is really dedicated to it,” Rosenthal says. “He puts a lot of time into his work and also money into the studio to have the best possible album.”\u003c/p>\n\u003cp>And that used to pay. Rosenthal says Roach’s albums regularly sold 50,000 to 60,000 copies. But that was before the days of massive file sharing on the Internet. Now, a quick search on Google will take you to sites where you can download copies of Roach’s music for free.\u003c/p>\n\u003cp>And here’s where Rosenthal gets angry about copyright law: Google is not responsible for taking down links to the pirated song unless Roach or his label let Google know it’s there. Rosenthal says it’s tough to play Internet detective for all the artists on his label, especially when every time one illegal link gets taken down another one pops up.\u003c/p>\n\u003cp>“It’s a really unreasonable expectation,” he says, “that I would have the time to chase people all day when I should be running a business and making music.”\u003c/p>\n\u003cp>The problem, he says, is the “safe harbor” provision of the Digital Millennium Copyright Act. It was written when Congress was revising the copyright laws in 1998 to account for the growing presence of the Internet and protects Internet services from financial liability if people use them to post unauthorized copyrighted material.\u003c/p>\n\u003cp>\u003cstrong>“Designed for a different age”\u003c/strong>\u003c/p>\n\u003cp>“It was a system designed for a different age,” admits Jim Burger, a copyright attorney who represented tech companies at the time. “It’s like traffic rules for carriages with horses, and you have autonomous cars now.”\u003c/p>\n\u003cp>When the law was being written, Google had just been founded and YouTube didn’t exist. “The concern that Congress clearly had in mind was it did not want to throttle or chill innovation and expansion of the Internet,” Burger says. “And they didn’t want the overhang of copyright lawsuits.”\u003c/p>\n\u003cp>Of course, now Google is one of the most valuable companies in the world. That is why Rosenthal and many other artists think Google and other Internet giants should be made legally responsible for finding unauthorized files and taking them down.\u003c/p>\n\u003cp>“Google could solve this problem — 90 percent of this problem — with one switch,” Rosenthal says. “And if they were really on the side of the creators they would do something about that.”\u003c/p>\n\u003cp>Actually, representatives of Google’s YouTube say the video service does do something. Artists can register their songs with Google’s Content ID, which locates uploads of their music and lets artists run ads over those videos. “Ninety-five percent of the time they’re choosing to monetize it, which means they share the revenue,” says Katherine Oyama, legal counsel at YouTube.\u003c/p>\n\u003cp>Since YouTube launched Content ID a decade ago, the program has paid $2 billion to rights holders — but that includes other copyright owners such as filmmakers as well as musicians. \u003c/p>\n\u003cp>But according to the Recording Industry Association of America, YouTube saw a more than 100-percent increase in the number of video plays last year, but the music industry only saw a 17 percent increase in the revenue sent to artists. The organization says these figures show that the tech companies gain more from the artists than the artists get in return.\u003c/p>\n\u003cp>Plus, Content ID tracking doesn’t work for Google search, which artists say continues to bring up links to sites that list pirated versions of their songs.\u003c/p>\n\u003cp>\u003cstrong>“Hand \u003c/strong>\u003cstrong>in every cookie jar possible”\u003c/strong>\u003c/p>\n\u003cp>There could be a generational difference in the way artists approach the Internet to make a living.\u003c/p>\n\u003cp>A cappella singer \u003ca href=\"https://www.youtube.com/watch?v=BSLPH9d-jsI\" target=\"_blank\" rel=\"noopener\">Peter Hollens\u003c/a>, whose YouTube videos have been viewed tens of millions of times, thinks the Internet opened the door for him to reach fans and turn it into a living. “The fact that I can do it as a dorky dad,” says the 34-year-old. “I truly believe that anyone with the gumption and the drive can make this happen.”\u003c/p>\n\u003cp>Hollens thinks people who’ve been in the business for a long time just need to learn how to get their music in all the right places and bring in different streams of income.\u003c/p>\n\u003cp>“To make a living as a musician most people know … you need to have your hand in every cookie jar possible,” he says. That includes Spotify, SoundCloud, commercials, video games and just about anywhere that music can be found.\u003c/p>\n\u003cp>In fact, Hollens credits the safe harbor provision itself with his success. He fears that if Congress made Internet companies responsible for finding and taking down unauthorized music files, they would begin to err heavily on the side of caution and censor musicians out of fear that their music might violate the copyright laws and the company would be responsible for millions of dollars in fines. Under U.S. copyright law, violators can be fined up to $150,000 for each work infringed.\u003c/p>\n\u003cp>It may be that it’s just too hard for older musicians to learn the new business. But Rosenthal and others say that it should still be up to them to control where the music they’ve worked so hard to create shows up. Rosenthal doesn’t think he and other artists should have to bear all the responsibility for finding every place on the Internet where their music is put up against their will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Congress will likely hear from musicians like Hollens and Steve Roach and his producer Sam Rosenthal as it continues its review of the copyright laws. Lawmakers are expected to unveil an outline for reforms in the fall. \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=Why+Taylor+Swift+Is+Asking+Congress+To+Update+Copyright+Laws&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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