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"content": "\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gcC6uCISQaw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Super Bowl City’s a thing of the past, but San Francisco has been \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">clearing streets of homeless encampments\u003c/a> since the week-long event began. Yet, despite the city’s continuous efforts \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/san-francisco-to-vote-on-housing-not-tents-homelessness-measure\" target=\"_blank\" rel=\"noopener\">to push the homeless out of sight,\u003c/a> they’re still there.\u003c/p>\n\u003cp>While local officials have their own ways of dealing it, San Francisco artist Annice Jacoby aimed to address the city’s homeless issue through her project \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Undercover\u003c/a>, which started during February’s Super Bowl festivities. Jacoby and her team provided those living on the streets with blankets, seeking not only to provide warmth to those who needed it, but also to incite conversation and create visibility for a community that’s otherwise \u003ca href=\"http://ww2.kqed.org/news/2016/03/09/mayor-lee-blasts-talk-of-homeless-crisis-and-calls-for-critics-to-aid-citys-efforts\" target=\"_blank\" rel=\"noopener\">neglected\u003c/a>.\u003c/p>\n\u003cp>“Our goal is to use creativity to unite,” Jacoby says. “We’re making a visual statement, making a ceremony of care; it’s a mechanism to address this problem.”\u003c/p>\n\u003cp>Families, friends and other community members came together at knitting circles held in two Mission stores, \u003ca href=\"https://missionpraxis.com/\" target=\"_blank\" rel=\"noopener\">Praxis\u003c/a> and \u003ca href=\"http://www.alleycatbookshop.com/\" target=\"_blank\" rel=\"noopener\">Alley Cat Books.\u003c/a> Those who came out would put together blankets that doubled as ponchos and distribute them in the weeks leading up to the Super Bowl. \u003c/p>\n\u003cp>The project’s efforts gained national attention, with inquiries and notes of appreciation coming in from other states, according to Undercover’s \u003ca href=\"https://www.facebook.com/UndercoverSF/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>, which also provides \u003ca href=\"https://www.facebook.com/UndercoverSF/posts/1029187463790582\">patterns\u003c/a> for people hoping to make and distribute blankets themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The whole idea was for people to feel like they’re making a difference through making garments and connecting with people when they distribute them,” says Ivan Vera, program manager at Hospitality House, which helped print the Undercover blankets. “The goal is to get in touch with those who are homeless and share their humanity – they’re not invisible people; they’re just less fortunate.”\u003c/p>\n\u003cp>Jacoby has since gone on to speak about Undercover to different high schools along the Peninsula, hoping to engage students with the project, according to Txutxo Perez, one of the artists involved with the project.\u003c/p>\n\u003cp>“Some kids helped distribute during the first part of the project and got really into it and wanted to bring the experience back to their schools,” Perez says. \u003c/p>\n\u003cp>He says he believes bringing such experiences and information to the younger generation is a start, as they’ll be the ones making significant changes in the future. \u003c/p>\n\u003cp>While the larger blanket project was mostly focused on the Super Bowl, Undercover has served as inspiration for smaller efforts: Praxis distributed Undercover hats back in March, and Perez says an artist friend of his in Greece started her own project that focuses on recycling lifesaver vests from people displaced by war into backpacks for them to use on further travels. \u003c/p>\n\u003cp>Ultimately the goal of the project was to connect people — disenfranchised and not — and share each other’s humanity, and Vera says he believes Undercover did just that.\u003c/p>\n\u003cp>“I hope the project has taught others to listen to people, have compassion, start understanding how one becomes homeless – we don’t want to lose that part of ourselves that make us human.” \u003c/p>\n\u003cp>\u003ci>Watch our report on the Undercover project during the Super Bowl:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gcC6uCISQaw'\n title='//www.youtube.com/embed/gcC6uCISQaw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> continues its upward climb out of near financial starvation with news Tuesday that the new \u003ca href=\"https://www.gov.ca.gov/news.php?id=19463\" target=\"_blank\" rel=\"noopener\">state budget\u003c/a> includes a $10.8 million bump, bringing state support to the agency in fiscal year 2016-17 to roughly $21.1 million.\u003c/p>\n\u003cp>Included in that sum: a one-time only boost of $6.8 million for the council generally, and $4 million in ongoing funding for the state’s \u003ca href=\"http://www.cac.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener\">Arts in Corrections\u003c/a> program, an initiative that provides arts programming to the state’s prisons.\u003c/p>\n\u003cp>\u003cstrong>From lean to fat\u003c/strong>\u003c/p>\n\u003cp>While it’s not the council’s first budget after the Great Recession to feature a significant top off, the spike in funding is unusually big.\u003c/p>\n\u003cp>Caitlin Fitzwater, communications director for the council, says the agency used to get north of $30 million in the early ’00s. “With the Recession, that went away,” Fitzwater says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For more than a decade following, the state’s general fund offered only $1 million dollars, reflecting a cut of more than 96 percent. That said, the council continued to get federal support from the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a>, and from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener\">Keep Arts in Schools Fund\u003c/a>.\u003c/p>\n\u003cp>The picture started to turn around in 2013. Then, in fiscal year 2015-16, the annual budget was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/24/governor-signs-state-budget-increasing-arts-funding-to-8-3-million/\" target=\"_blank\" rel=\"noopener\">permanently boosted\u003c/a> by more than $7 million.\u003c/p>\n\u003cp>Fitzwater says the increased funds will go to programs the council already serves, with a special focus on school children and veterans in under-served communities. “There is already a large demand that we haven’t been able to meet with our current budget,” Fitzwater says. “So this one-time boost will allow us to increase our investment in those programs.”\u003c/p>\n\u003cp>\u003cstrong>Boosting art in prisons\u003c/strong>\u003c/p>\n\u003cp>[contextly_sidebar id=”3DEmjmWZTpK0it43sX9LbQn9MF5X9Jzk”]\u003c/p>\n\u003cp>Currently in its third year, the Arts in Corrections program, which brings art workshops to prisoners incarcerated in state penitentiaries, has an annual budget of $2 million. It reached around 20 facilities in partnership with the California Department of Corrections and Rehabilitation (CDCR).\u003c/p>\n\u003cp>“It’s great,” says Krissi Khokhobashvili, a spokeswoman for the \u003ca href=\"http://www.cdcr.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Department of Corrections and Rehabilitation\u003c/a>. Now, with $6 million dollars annually, she says the program will reach nearly every CDCR facility in the state. “We’re really excited, as this means we’ll be able to expand this to every adult facility.” That’s about 34 facilities, up from 14.\u003c/p>\n\u003cp>“It’s a testament to the program. The artists that come into our institutions are amazing,” Khokhobashvili says, noting they work with inmates coming at the arts from every level of experience or lack thereof.\u003c/p>\n\u003cp>“If we have a program that works,” she adds “We want to replicate it to all the prisons.”\u003c/p>\n\u003cp>Another happy beneficiary is \u003ca href=\"http://dancersgroup.org/\" target=\"_blank\" rel=\"noopener\">Dancers’ Group\u003c/a>, based in San Francisco. Program Director Michelle Lynch Reynolds called the news “a really good step forward that will support so many amazing organizations and artists.” She added “Governor Brown has made an important statement on what our state values, and we applaud him for his support of the arts. Here’s to a bigger allocation in 2017!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That remains to be seen, but this coming year’s budget might also help California rise in the national rankings for state arts spending. According to the\u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\"> National Assembly of State Arts Agencies\u003c/a>, the state ranked 46th out of 50 in per-capita arts-funding for 2015-16.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://arts.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Arts Council\u003c/a> continues its upward climb out of near financial starvation with news Tuesday that the new \u003ca href=\"https://www.gov.ca.gov/news.php?id=19463\" target=\"_blank\" rel=\"noopener\">state budget\u003c/a> includes a $10.8 million bump, bringing state support to the agency in fiscal year 2016-17 to roughly $21.1 million.\u003c/p>\n\u003cp>Included in that sum: a one-time only boost of $6.8 million for the council generally, and $4 million in ongoing funding for the state’s \u003ca href=\"http://www.cac.ca.gov/initiatives/aic.php\" target=\"_blank\" rel=\"noopener\">Arts in Corrections\u003c/a> program, an initiative that provides arts programming to the state’s prisons.\u003c/p>\n\u003cp>\u003cstrong>From lean to fat\u003c/strong>\u003c/p>\n\u003cp>While it’s not the council’s first budget after the Great Recession to feature a significant top off, the spike in funding is unusually big.\u003c/p>\n\u003cp>Caitlin Fitzwater, communications director for the council, says the agency used to get north of $30 million in the early ’00s. “With the Recession, that went away,” Fitzwater says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For more than a decade following, the state’s general fund offered only $1 million dollars, reflecting a cut of more than 96 percent. That said, the council continued to get federal support from the \u003ca href=\"https://www.arts.gov/\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts\u003c/a>, and from sales and renewals of California’s \u003ca href=\"http://arts.ca.gov/getinvolved/alp.php\" target=\"_blank\" rel=\"noopener\">Arts License Plate\u003c/a> and voluntary state tax return contributions to the \u003ca href=\"http://arts.ca.gov/getinvolved/kais.php\" target=\"_blank\" rel=\"noopener\">Keep Arts in Schools Fund\u003c/a>.\u003c/p>\n\u003cp>The picture started to turn around in 2013. Then, in fiscal year 2015-16, the annual budget was \u003ca href=\"http://ww2.kqed.org/arts/2015/06/24/governor-signs-state-budget-increasing-arts-funding-to-8-3-million/\" target=\"_blank\" rel=\"noopener\">permanently boosted\u003c/a> by more than $7 million.\u003c/p>\n\u003cp>Fitzwater says the increased funds will go to programs the council already serves, with a special focus on school children and veterans in under-served communities. “There is already a large demand that we haven’t been able to meet with our current budget,” Fitzwater says. “So this one-time boost will allow us to increase our investment in those programs.”\u003c/p>\n\u003cp>\u003cstrong>Boosting art in prisons\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Currently in its third year, the Arts in Corrections program, which brings art workshops to prisoners incarcerated in state penitentiaries, has an annual budget of $2 million. It reached around 20 facilities in partnership with the California Department of Corrections and Rehabilitation (CDCR).\u003c/p>\n\u003cp>“It’s great,” says Krissi Khokhobashvili, a spokeswoman for the \u003ca href=\"http://www.cdcr.ca.gov/\" target=\"_blank\" rel=\"noopener\">California Department of Corrections and Rehabilitation\u003c/a>. Now, with $6 million dollars annually, she says the program will reach nearly every CDCR facility in the state. “We’re really excited, as this means we’ll be able to expand this to every adult facility.” That’s about 34 facilities, up from 14.\u003c/p>\n\u003cp>“It’s a testament to the program. The artists that come into our institutions are amazing,” Khokhobashvili says, noting they work with inmates coming at the arts from every level of experience or lack thereof.\u003c/p>\n\u003cp>“If we have a program that works,” she adds “We want to replicate it to all the prisons.”\u003c/p>\n\u003cp>Another happy beneficiary is \u003ca href=\"http://dancersgroup.org/\" target=\"_blank\" rel=\"noopener\">Dancers’ Group\u003c/a>, based in San Francisco. Program Director Michelle Lynch Reynolds called the news “a really good step forward that will support so many amazing organizations and artists.” She added “Governor Brown has made an important statement on what our state values, and we applaud him for his support of the arts. Here’s to a bigger allocation in 2017!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That remains to be seen, but this coming year’s budget might also help California rise in the national rankings for state arts spending. According to the\u003ca href=\"http://www.nasaa-arts.org/Research/Funding/index.php\" target=\"_blank\" rel=\"noopener\"> National Assembly of State Arts Agencies\u003c/a>, the state ranked 46th out of 50 in per-capita arts-funding for 2015-16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mack Rice, the composer of ’60s hit “Mustang Sally” and co-writer of the Staple Singers’ landmark “Respect Yourself” has died in Detroit. He was 82.\u003c/p>\n\u003cp>Laura Rice told The Associated Press that her husband died at their home Monday of complications from Alzheimer’s disease.\u003c/p>\n\u003cp>“Sir” Mack Rice was best known for writing “Mustang Sally,” which he initially recorded but singer Wilson Pickett popularized. They had been in a group together called the Falcons, which recorded in Detroit.\u003c/p>\n\u003cp>“When he wrote ‘Mustang Sally’ and he saw that royalty check, he started writing,” Laura Rice said. “He never thought ‘Mustang Sally’ would ever be as big as it became. … He used to tell me, ‘Honey that Mustang has rolled a long time.'”\u003c/p>\n\u003cp>Rice was a songwriter for Memphis, Tennessee-based Stax Records and split his time between there and Detroit, where he moved from Mississippi as a teen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He wrote “Respect Yourself” with late R&B singer-songwriter Luther Ingram for the Staple Singers, which became Stax’s biggest hit. His wife said he wrote it in about 15 minutes after talking with other musicians in the studio about the need for people to respect themselves in order to be respected by others.\u003c/p>\n\u003cp>Laura Rice and singer Pat Lewis, a longtime friend and collaborator, say he was kind, humble and embodied his other, Memphis-given nickname, “Gentleman.” Both delivered the word in a drawn-out, southern accent, sounding more like “Gentlemain.”\u003c/p>\n\u003cp>Lewis, a fellow Detroit resident who went to Stax with Mack Rice in the 1960s and remained close with him until his death, said he was a “gentle soul” who was loved by all — including ex-bandmates. She said he remained friends with Pickett, who died in 2006, and the other Falcons, even though for a lot of groups, “when they fall out, they fall out.”\u003c/p>\n\u003cp>“Pickett called (Rice) and said, ‘You oughtta let me do ‘Mustang Sally.'” recalled Lewis, who also sang backup for Aretha Franklin and Isaac Hayes. “Mack said, ‘You wanna do it? You got that.’ It wasn’t a hit (for) Mack but Pickett, wow, he just blew it out of the park.”\u003c/p>\n\u003cp>In his later years, Rice ran an asphalt company in Detroit and continued writing and performing. Despite his failing health and mind at the end of his life, Lewis said music remained at his core. She recalled their last phone conversation a few days before his death.\u003c/p>\n\u003cp>“Somebody mentioned my name and he hadn’t spoken all day, but all of a sudden he said, ‘Patsy Lewis? Where?'” Lewis said. “He said to me, ‘Patsy Lewis, hello darling. Girl, we gotta get this music.’ I said, ‘You are so right, Gentleman.'”\u003c/p>\n\u003cp>A tribute service has been scheduled for July 6 at Detroit’s New Bethel Baptist Church. A funeral service is set for July 7.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mack Rice, the composer of ’60s hit “Mustang Sally” and co-writer of the Staple Singers’ landmark “Respect Yourself” has died in Detroit. He was 82.\u003c/p>\n\u003cp>Laura Rice told The Associated Press that her husband died at their home Monday of complications from Alzheimer’s disease.\u003c/p>\n\u003cp>“Sir” Mack Rice was best known for writing “Mustang Sally,” which he initially recorded but singer Wilson Pickett popularized. They had been in a group together called the Falcons, which recorded in Detroit.\u003c/p>\n\u003cp>“When he wrote ‘Mustang Sally’ and he saw that royalty check, he started writing,” Laura Rice said. “He never thought ‘Mustang Sally’ would ever be as big as it became. … He used to tell me, ‘Honey that Mustang has rolled a long time.'”\u003c/p>\n\u003cp>Rice was a songwriter for Memphis, Tennessee-based Stax Records and split his time between there and Detroit, where he moved from Mississippi as a teen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrote “Respect Yourself” with late R&B singer-songwriter Luther Ingram for the Staple Singers, which became Stax’s biggest hit. His wife said he wrote it in about 15 minutes after talking with other musicians in the studio about the need for people to respect themselves in order to be respected by others.\u003c/p>\n\u003cp>Laura Rice and singer Pat Lewis, a longtime friend and collaborator, say he was kind, humble and embodied his other, Memphis-given nickname, “Gentleman.” Both delivered the word in a drawn-out, southern accent, sounding more like “Gentlemain.”\u003c/p>\n\u003cp>Lewis, a fellow Detroit resident who went to Stax with Mack Rice in the 1960s and remained close with him until his death, said he was a “gentle soul” who was loved by all — including ex-bandmates. She said he remained friends with Pickett, who died in 2006, and the other Falcons, even though for a lot of groups, “when they fall out, they fall out.”\u003c/p>\n\u003cp>“Pickett called (Rice) and said, ‘You oughtta let me do ‘Mustang Sally.'” recalled Lewis, who also sang backup for Aretha Franklin and Isaac Hayes. “Mack said, ‘You wanna do it? You got that.’ It wasn’t a hit (for) Mack but Pickett, wow, he just blew it out of the park.”\u003c/p>\n\u003cp>In his later years, Rice ran an asphalt company in Detroit and continued writing and performing. Despite his failing health and mind at the end of his life, Lewis said music remained at his core. She recalled their last phone conversation a few days before his death.\u003c/p>\n\u003cp>“Somebody mentioned my name and he hadn’t spoken all day, but all of a sudden he said, ‘Patsy Lewis? Where?'” Lewis said. “He said to me, ‘Patsy Lewis, hello darling. Girl, we gotta get this music.’ I said, ‘You are so right, Gentleman.'”\u003c/p>\n\u003cp>A tribute service has been scheduled for July 6 at Detroit’s New Bethel Baptist Church. A funeral service is set for July 7.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just like the mercurial emcee character he famously played in the West End and Broadway production of the musical \u003cem>Cabaret\u003c/em> in the 1990s, Alan Cumming is hard to pin down. The Scottish thespian, writer, singer, and activist swings between wildly different personas on stage and screen — from the vicious anti-hero Mac the Knife in Kurt Weill and Bertolt Brecht’s \u003cem>The Threepenny Opera\u003c/em> to a drag queen party promoter in \u003cem>The L Word\u003c/em> television series. Beyond performance, he’s done everything from campaigned for Scottish independence to create his own \u003ca href=\"http://cbihateperfume.com/shop/2nd-alan-cumming/\" target=\"_blank\" rel=\"noopener\">line of perfumes\u003c/a>.\u003c/p>\n\u003cp>With his touring cabaret act, however, Cumming is intent on drawing out his sentimental side. \u003cem>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Alan Cumming Sings Sappy Songs\u003c/a> \u003c/em>comes to San Francisco’s Castro Theatre for one night on Thursday, Jul. 30. It’s the artist’s third such foray into cabaret. (His previous two song-infused, solo shows — \u003cem>I Bought A Blue Car Today \u003c/em>and\u003cem> Uncut — \u003c/em>both toured the country and made pit-stops in San Francisco).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EKwU9HFf7KM\u003c/p>\n\u003cp>Featuring intensely personal songs like “The Climb” by Miley Cyrus and Annie Lennox’s “Why,” \u003cem>Sappy Songs\u003c/em> got storming reviews when it played at New York’s ritzy Cafe Carlyle last year. \u003cem>The New York Times\u003c/em> called it an “emotional firestorm,” while \u003cem>The Guardian\u003c/em> said of the artist, “everything he did seemed to be designed to make the cafe’s patrons clutch their pearls.”\u003c/p>\n\u003cp>KQED caught up with Cumming while he was in production for \u003ca href=\"http://afterlouie.com/#About\" target=\"_blank\" rel=\"noopener\">\u003cem>After Louie\u003c/em>\u003c/a>, an upcoming feature film about contemporary gay life in the wake of the AIDS epidemic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>This show is a real weeper, I hear. What’s the impetus behind exploring your rawest feelings and emotions?\u003c/strong>\u003c/p>\n\u003cp>Well it’s a weeper in some parts, but also hilarious in others. What I wanted was to do a show that was really honest and personal and emotional. Therefore I had no choice but to be raw and open. I think you have to be prepared to be vulnerable in order to connect properly with an audience.\u003c/p>\n\u003cp>\u003cstrong>How do you go about selecting songs for the show? \u003c/strong>\u003c/p>\n\u003cp>The songs are either ones I have always loved and wanted to sing or ones that I listened to at Club Cumming — my dressing room parties after performances of \u003cem>Cabaret\u003c/em> at Studio 54 on Broadway — and that I fell in love with. Some of them are by artistes that I never felt I would love, or songs I never thought I would sing. I think that when you listen to a song without prejudice, sometimes you can hear it in a different way. Also, all the songs are ones that I feel I can bring something to, and maybe make the audience rediscover. There is no point in me singing a song if I can’t reinvent or reinterpret it. I don’t have a nice enough voice to just to sing a song well.\u003c/p>\n\u003cfigure id=\"attachment_11749052\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg\" alt=\"Alan Cumming attends the after party for the 'Spectre' pre-release screening in 2015.\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11749052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings.jpg 600w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Alan Cumming attends the after party for the ‘Spectre’ pre-release screening in 2015. \u003ccite>( Photo: Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Most people know you from your movies and from performing in big, splashy musicals and plays. What draws you to doing a solo show?\u003c/strong>\u003c/p>\n\u003cp>I have grown to love the connection I get with an audience performing in this way. There is no veil of a character between us and it really is just me, out there, being myself. But I don’t think of it as a solo show really. I have my wee band, and I truly love them and all the fun we have traipsing round the country making music and mischief.\u003c/p>\n\u003cp>\u003cstrong>You’re a prominent gay rights activist. How does your activism inform your art and visa-versa?\u003c/strong>\u003c/p>\n\u003cp>I feel very connected to what I feel is important as a human being and what I choose to do in my work. As I get older and also as I make more of my own work, I see that my activism is infused and very central to my performing. This is especially true in a show like this, which is really just me standing up there and being me. It is filled with my beliefs and opinions. My activism and politics are totally present and part of everything in it.\u003c/p>\n\u003cp>\u003cstrong>You’ve performed in the Bay Area before. What are the biggest draws of coming to San Francisco for you?\u003c/strong>\u003c/p>\n\u003cp>Well my husband is from the Bay Area so it means I get to see his family and friends and have a bit of a vacation. And I always like finding out more about San Francisco. It’s one of those cities that I have been to a lot, but only for short trips. So each time I go it’s like a new adventure.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">\u003cb>Alan Cumming Sings Sappy Songs\u003c/b>\u003c/a> happens on Thursday, Jun. 30 at The Castro Theatre, San Francisco. \u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, Check out Cumming’s appearance on KQED’s \u003cem>Forum \u003c/em>on Thursday, Jun. 30.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like the mercurial emcee character he famously played in the West End and Broadway production of the musical \u003cem>Cabaret\u003c/em> in the 1990s, Alan Cumming is hard to pin down. The Scottish thespian, writer, singer, and activist swings between wildly different personas on stage and screen — from the vicious anti-hero Mac the Knife in Kurt Weill and Bertolt Brecht’s \u003cem>The Threepenny Opera\u003c/em> to a drag queen party promoter in \u003cem>The L Word\u003c/em> television series. Beyond performance, he’s done everything from campaigned for Scottish independence to create his own \u003ca href=\"http://cbihateperfume.com/shop/2nd-alan-cumming/\" target=\"_blank\" rel=\"noopener\">line of perfumes\u003c/a>.\u003c/p>\n\u003cp>With his touring cabaret act, however, Cumming is intent on drawing out his sentimental side. \u003cem>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Alan Cumming Sings Sappy Songs\u003c/a> \u003c/em>comes to San Francisco’s Castro Theatre for one night on Thursday, Jul. 30. It’s the artist’s third such foray into cabaret. (His previous two song-infused, solo shows — \u003cem>I Bought A Blue Car Today \u003c/em>and\u003cem> Uncut — \u003c/em>both toured the country and made pit-stops in San Francisco).\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/EKwU9HFf7KM'\n title='//www.youtube.com/embed/EKwU9HFf7KM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring intensely personal songs like “The Climb” by Miley Cyrus and Annie Lennox’s “Why,” \u003cem>Sappy Songs\u003c/em> got storming reviews when it played at New York’s ritzy Cafe Carlyle last year. \u003cem>The New York Times\u003c/em> called it an “emotional firestorm,” while \u003cem>The Guardian\u003c/em> said of the artist, “everything he did seemed to be designed to make the cafe’s patrons clutch their pearls.”\u003c/p>\n\u003cp>KQED caught up with Cumming while he was in production for \u003ca href=\"http://afterlouie.com/#About\" target=\"_blank\" rel=\"noopener\">\u003cem>After Louie\u003c/em>\u003c/a>, an upcoming feature film about contemporary gay life in the wake of the AIDS epidemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>This show is a real weeper, I hear. What’s the impetus behind exploring your rawest feelings and emotions?\u003c/strong>\u003c/p>\n\u003cp>Well it’s a weeper in some parts, but also hilarious in others. What I wanted was to do a show that was really honest and personal and emotional. Therefore I had no choice but to be raw and open. I think you have to be prepared to be vulnerable in order to connect properly with an audience.\u003c/p>\n\u003cp>\u003cstrong>How do you go about selecting songs for the show? \u003c/strong>\u003c/p>\n\u003cp>The songs are either ones I have always loved and wanted to sing or ones that I listened to at Club Cumming — my dressing room parties after performances of \u003cem>Cabaret\u003c/em> at Studio 54 on Broadway — and that I fell in love with. Some of them are by artistes that I never felt I would love, or songs I never thought I would sing. I think that when you listen to a song without prejudice, sometimes you can hear it in a different way. Also, all the songs are ones that I feel I can bring something to, and maybe make the audience rediscover. There is no point in me singing a song if I can’t reinvent or reinterpret it. I don’t have a nice enough voice to just to sing a song well.\u003c/p>\n\u003cfigure id=\"attachment_11749052\" class=\"wp-caption alignright\" style=\"max-width: 457px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg\" alt=\"Alan Cumming attends the after party for the 'Spectre' pre-release screening in 2015.\" width=\"457\" height=\"600\" class=\"size-medium wp-image-11749052\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-457x600.jpg 457w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings-400x525.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Alan-Cummings.jpg 600w\" sizes=\"(max-width: 457px) 100vw, 457px\">\u003cfigcaption class=\"wp-caption-text\">Alan Cumming attends the after party for the ‘Spectre’ pre-release screening in 2015. \u003ccite>( Photo: Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Most people know you from your movies and from performing in big, splashy musicals and plays. What draws you to doing a solo show?\u003c/strong>\u003c/p>\n\u003cp>I have grown to love the connection I get with an audience performing in this way. There is no veil of a character between us and it really is just me, out there, being myself. But I don’t think of it as a solo show really. I have my wee band, and I truly love them and all the fun we have traipsing round the country making music and mischief.\u003c/p>\n\u003cp>\u003cstrong>You’re a prominent gay rights activist. How does your activism inform your art and visa-versa?\u003c/strong>\u003c/p>\n\u003cp>I feel very connected to what I feel is important as a human being and what I choose to do in my work. As I get older and also as I make more of my own work, I see that my activism is infused and very central to my performing. This is especially true in a show like this, which is really just me standing up there and being me. It is filled with my beliefs and opinions. My activism and politics are totally present and part of everything in it.\u003c/p>\n\u003cp>\u003cstrong>You’ve performed in the Bay Area before. What are the biggest draws of coming to San Francisco for you?\u003c/strong>\u003c/p>\n\u003cp>Well my husband is from the Bay Area so it means I get to see his family and friends and have a bit of a vacation. And I always like finding out more about San Francisco. It’s one of those cities that I have been to a lot, but only for short trips. So each time I go it’s like a new adventure.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">\u003cb>Alan Cumming Sings Sappy Songs\u003c/b>\u003c/a> happens on Thursday, Jun. 30 at The Castro Theatre, San Francisco. \u003ca href=\"http://www.alancumming.com/events/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, Check out Cumming’s appearance on KQED’s \u003cem>Forum \u003c/em>on Thursday, Jun. 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ludacris To Play Gitmo's Fourth of July 'Freedom Festival,' Irony Officially Dead",
"title": "Ludacris To Play Gitmo's Fourth of July 'Freedom Festival,' Irony Officially Dead",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>First, a confession: I love Ludacris. I love Ludacris to a degree I cannot really defend, other than to say I am the right age for loving Ludacris, which is to say I was 16 years old when the song \"Area Codes\" dropped, which is to say I will likely always find both it and him brilliant and hilarious. (Also,\u003ca href=\"http://www.fastcocreate.com/1682726/inf-ho-graphic-a-precisely-plotted-map-of-area-codes-in-which-ludacris-has-hoes\" target=\"_blank\"> this map\u003c/a>.)\u003c/p>\n\u003cp>I even went out of my way to see Ludacris perform at SXSW's Interactive closing party in 2015, an event at which I was more visibly excited and engaged than maybe 98 percent of attendees, which is not actually saying that much if you have ever been to a private but admission-free rager overwhelmingly populated by tech dudes.\u003c/p>\n\u003cp>All of which leaves me curious as to the vibe, so to speak, at a \u003ca href=\"http://www.miamiherald.com/news/nation-world/national/article86208127.html\" target=\"_blank\">rather different upcoming Ludacris performance.\u003c/a> The \u003cem>Miami Herald\u003c/em> reported today that the overgrown class clown of a rapper has been chosen to headline the annual Fourth of July \"Freedom Festival\" at Guantanamo Bay, a free event thrown for the less than 6,000 residents of the Navy base there. The \u003cem>Herald\u003c/em> notes that this population is made up of \"troops, Department of Defense contractors, Navy families and the last [79] war-on-terror detainees.\" (The original \u003cem>Herald \u003c/em>story misidentified that number as 89.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>President Obama, you may recall, has been pledging to close the now 14-year-old military prison since before he was elected president, noting its well-documented history of detaining suspected terrorists indefinitely, without trial. As recently as February of this year, \u003ca href=\"http://www.nytimes.com/2016/02/24/us/politics/obama-guantanamo-bay.html?_r=0\" target=\"_blank\">he presented Congress with a plan\u003c/a> for transferring the remaining prisoners away from the facility, noting that the prison \"is viewed as a stain on our broader record of upholding the highest standards of rule of law. This is about closing a chapter in our history.\"\u003c/p>\n\u003cp>That plan was met with near-instantaneous rejection by Republican members of Congress. In the waning months of the Obama administration, it seems likely that the complex issues surrounding the detention center and its closure will be passed on to the next inhabitant of the Oval Office, not unlike some sort of pesky, Rumsfeld-era STD.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the time being, then, there remain more than 5,000 people residing at Guantanamo Bay -- and I'm certainly not here to say they don't deserve entertainment. On the contrary, if your work involves daily interaction with an institution the president actively refers to as a \"stain,\" you should get all the free concerts you can take. Calling the annual taxpayer-funded Fourth of July event at a military prison Amnesty International once referred to as the \u003ca href=\"https://web.archive.org/web/20060220210041/http://web.amnesty.org/library/Index/ENGPOL100142005\" target=\"_blank\">Gulag of our times\u003c/a> a \"Freedom Festival,\" on the other hand, involves a degree of questionable judgment I can't really wrap my head around.\u003c/p>\n\u003cp>In any event, Ludacris is apparently the biggest name to visit said festival in over a decade: \"Base residents couldn’t recall a show of this magnitude since Jimmy Buffett played the open-air Lyceum movie theater in December 2002,\" reports the \u003cem>Herald\u003c/em>. Recent years have instead seen performances by smaller, pop-punkier fish like the Plain White Ts [insert your own offensive joke about cruel and unusual punishment here].\u003c/p>\n\u003cp>To summarize: If you are a person who loves fireworks and comical hip-hop songs about women's body parts and your area code is 21 (shout out Guantanamo Bay, Cuba), this year's Fourth of July just might be the free-est you've ever felt!\u003c/p>\n\u003cp>Unless, of course, you're a detainee: Organizers have assured the press that Windward Ferry Landing, the glorified parking lot from whence said freedom will be ringing, is too far away from the detention center for the prisoners to hear it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "In which the rapper will add Guantanamo Bay, Cuba to his famous list of area codes. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, a confession: I love Ludacris. I love Ludacris to a degree I cannot really defend, other than to say I am the right age for loving Ludacris, which is to say I was 16 years old when the song \"Area Codes\" dropped, which is to say I will likely always find both it and him brilliant and hilarious. (Also,\u003ca href=\"http://www.fastcocreate.com/1682726/inf-ho-graphic-a-precisely-plotted-map-of-area-codes-in-which-ludacris-has-hoes\" target=\"_blank\"> this map\u003c/a>.)\u003c/p>\n\u003cp>I even went out of my way to see Ludacris perform at SXSW's Interactive closing party in 2015, an event at which I was more visibly excited and engaged than maybe 98 percent of attendees, which is not actually saying that much if you have ever been to a private but admission-free rager overwhelmingly populated by tech dudes.\u003c/p>\n\u003cp>All of which leaves me curious as to the vibe, so to speak, at a \u003ca href=\"http://www.miamiherald.com/news/nation-world/national/article86208127.html\" target=\"_blank\">rather different upcoming Ludacris performance.\u003c/a> The \u003cem>Miami Herald\u003c/em> reported today that the overgrown class clown of a rapper has been chosen to headline the annual Fourth of July \"Freedom Festival\" at Guantanamo Bay, a free event thrown for the less than 6,000 residents of the Navy base there. The \u003cem>Herald\u003c/em> notes that this population is made up of \"troops, Department of Defense contractors, Navy families and the last [79] war-on-terror detainees.\" (The original \u003cem>Herald \u003c/em>story misidentified that number as 89.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>President Obama, you may recall, has been pledging to close the now 14-year-old military prison since before he was elected president, noting its well-documented history of detaining suspected terrorists indefinitely, without trial. As recently as February of this year, \u003ca href=\"http://www.nytimes.com/2016/02/24/us/politics/obama-guantanamo-bay.html?_r=0\" target=\"_blank\">he presented Congress with a plan\u003c/a> for transferring the remaining prisoners away from the facility, noting that the prison \"is viewed as a stain on our broader record of upholding the highest standards of rule of law. This is about closing a chapter in our history.\"\u003c/p>\n\u003cp>That plan was met with near-instantaneous rejection by Republican members of Congress. In the waning months of the Obama administration, it seems likely that the complex issues surrounding the detention center and its closure will be passed on to the next inhabitant of the Oval Office, not unlike some sort of pesky, Rumsfeld-era STD.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the time being, then, there remain more than 5,000 people residing at Guantanamo Bay -- and I'm certainly not here to say they don't deserve entertainment. On the contrary, if your work involves daily interaction with an institution the president actively refers to as a \"stain,\" you should get all the free concerts you can take. Calling the annual taxpayer-funded Fourth of July event at a military prison Amnesty International once referred to as the \u003ca href=\"https://web.archive.org/web/20060220210041/http://web.amnesty.org/library/Index/ENGPOL100142005\" target=\"_blank\">Gulag of our times\u003c/a> a \"Freedom Festival,\" on the other hand, involves a degree of questionable judgment I can't really wrap my head around.\u003c/p>\n\u003cp>In any event, Ludacris is apparently the biggest name to visit said festival in over a decade: \"Base residents couldn’t recall a show of this magnitude since Jimmy Buffett played the open-air Lyceum movie theater in December 2002,\" reports the \u003cem>Herald\u003c/em>. Recent years have instead seen performances by smaller, pop-punkier fish like the Plain White Ts [insert your own offensive joke about cruel and unusual punishment here].\u003c/p>\n\u003cp>To summarize: If you are a person who loves fireworks and comical hip-hop songs about women's body parts and your area code is 21 (shout out Guantanamo Bay, Cuba), this year's Fourth of July just might be the free-est you've ever felt!\u003c/p>\n\u003cp>Unless, of course, you're a detainee: Organizers have assured the press that Windward Ferry Landing, the glorified parking lot from whence said freedom will be ringing, is too far away from the detention center for the prisoners to hear it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "happy-birthday-song-has-been-set-free",
"title": "\"Happy Birthday\" Song Has Been Set Free",
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"content": "\u003cp>The song “Happy Birthday” is now as free as a birthday balloon with a loose string.\u003c/p>\n\u003cp>[contextly_sidebar id=”SeJxOhutS4B0GGnkeP9GTBRDscXVjp49″]\u003c/p>\n\u003cp>A US District Judge in Los Angeles approved a final settlement Monday in a lawsuit brought against music publisher Warner/Chappell, who owns the copyright on the birthday song, by half a dozen plaintiffs — one of which is a Bay Area musician.\u003c/p>\n\u003cp>Under the terms of the settlement, Warner/Chappell will have to reimburse $14 million in licensing fees collected over the past 3 years to more than 200 claimants.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg\" alt=\"Rupa and the April Fishes\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley’s Rupa Marya leads the band Rupa and the April Fishes and was one of the plaintiffs in the case. On Monday she got an assurance she’ll be reimbursed $455, the amount she paid Warner/Chappell for using Happy Birthday on a live album recorded in 2013.\u003c/p>\n\u003cfigure id=\"attachment_11745187\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11745187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg\" alt=\"Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song 'Happy Birthday'\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song ‘Happy Birthday’ \u003ccite>(Photo: Courtesy Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so great about it,” Marya said, while riding a cab from the federal courthouse in Los Angeles to the airport for a flight home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marya says the case was not a protest against copyrights. She said, they’re supposed to protect the work of artists, “so they can continue making a living off of their work. It’s not a commodity for corporations to beat artists up with.”\u003c/p>\n\u003cp>Marya argues the case is also a symbolic victory for what many call “the commons.”\u003c/p>\n\u003cp>“Things that belong to no one and everyone,” she said. “So many things, have been co-opted by corporations. The way Monsanto has patented the seeds the company sells to farmers. People should find an issue they care about, where the commons have been encroached upon, and find some lawyers, and go out and sue some corporations.”\u003c/p>\n\u003cp>Warner/Chappell didn’t return an email request for comment on the settlement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile the attorneys involved in the case are now challenging the copyrights to the song “We Shall Overcome,” and Woody Guthrie’s “This Land is Your Land.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song “Happy Birthday” is now as free as a birthday balloon with a loose string.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A US District Judge in Los Angeles approved a final settlement Monday in a lawsuit brought against music publisher Warner/Chappell, who owns the copyright on the birthday song, by half a dozen plaintiffs — one of which is a Bay Area musician.\u003c/p>\n\u003cp>Under the terms of the settlement, Warner/Chappell will have to reimburse $14 million in licensing fees collected over the past 3 years to more than 200 claimants.\u003c/p>\n\u003cfigure id=\"attachment_10958538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10958538\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg\" alt=\"Rupa and the April Fishes\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-400x234.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-1920x1122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Rupa-and-the-April-Fishes-GROUP.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes \u003ccite>(Photo: Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley’s Rupa Marya leads the band Rupa and the April Fishes and was one of the plaintiffs in the case. On Monday she got an assurance she’ll be reimbursed $455, the amount she paid Warner/Chappell for using Happy Birthday on a live album recorded in 2013.\u003c/p>\n\u003cfigure id=\"attachment_11745187\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11745187\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg\" alt=\"Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song 'Happy Birthday'\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Rupa-Live-at-the-Independent-150x150.jpg 150w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes Live at the Independent, the album that helped end the copyright on the song ‘Happy Birthday’ \u003ccite>(Photo: Courtesy Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I feel so great about it,” Marya said, while riding a cab from the federal courthouse in Los Angeles to the airport for a flight home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marya says the case was not a protest against copyrights. She said, they’re supposed to protect the work of artists, “so they can continue making a living off of their work. It’s not a commodity for corporations to beat artists up with.”\u003c/p>\n\u003cp>Marya argues the case is also a symbolic victory for what many call “the commons.”\u003c/p>\n\u003cp>“Things that belong to no one and everyone,” she said. “So many things, have been co-opted by corporations. The way Monsanto has patented the seeds the company sells to farmers. People should find an issue they care about, where the commons have been encroached upon, and find some lawyers, and go out and sue some corporations.”\u003c/p>\n\u003cp>Warner/Chappell didn’t return an email request for comment on the settlement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile the attorneys involved in the case are now challenging the copyrights to the song “We Shall Overcome,” and Woody Guthrie’s “This Land is Your Land.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "stanfords-virtual-reality-lab-cultivates-empathy-for-the-homeless",
"title": "Stanford's Virtual Reality Lab Cultivates Empathy for the Homeless",
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"headTitle": "Stanford’s Virtual Reality Lab Cultivates Empathy for the Homeless | KQED",
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"content": "\u003cp>The burgeoning field of Virtual Reality — or VR as it is commonly known — is a vehicle for telling stories through 360-degree visuals and sound that put you right in the middle of the action, be it at a crowded \u003ca href=\"https://www.youtube.com/watch?v=iXHil1TPxvA&feature=youtu.be&t=6m30s\" target=\"_blank\" rel=\"noopener\">Syrian refugee camp\u003c/a>, or inside the body of an \u003ca href=\"https://www.genworth.com/lets-talk/r70i-aging-experience.html\" target=\"_blank\" rel=\"noopener\">85-year-old with a bad hip and cataracts\u003c/a>. Because of VR’s immersive properties, some people describe the medium as “the ultimate empathy machine.” But can it make people care about something as fraught and multi-faceted as homelessness?\u003c/p>\n\u003cp>A study in progress at Stanford’s \u003ca href=\"https://vhil.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Virtual Human Interaction Lab\u003c/a> explores that question, and I strapped on an \u003ca href=\"https://www.oculus.com/en-us/\" target=\"_blank\" rel=\"noopener\">Oculus Rift\u003c/a> headset (one of the most popular devices people currently use to experience VR) to look for an answer.\u003c/p>\n\u003cp>\u003cstrong>A new way of understanding homelessness\u003c/strong>\u003c/p>\n\u003cp>The study, called \u003cem>\u003ca href=\"https://vhil.stanford.edu/projects/2015/empathy-at-scale/\" target=\"_blank\" rel=\"noopener\">Empathy at Scale\u003c/a>,\u003c/em> puts participants in a variety of scenes designed to help them imagine the experience of being homeless themselves.\u003c/p>\n\u003cfigure id=\"attachment_11744366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11744366 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg\" alt=\"'Empathy at Scale,' a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-1180x709.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut.jpg 1449w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Empathy at Scale,’ a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person. \u003ccite>(Photo: Courtesy Stanford’s Virtual Human Interaction Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike VR that uses 360-degree video, this dramatization looks like a low-fi video game, so it’s hard to mistake it for reality. Even so, my brain responded to the immersive environment to some extent as if I did perceive it as real. When a cop pulled up and trained a flashlight into the car, I physically flinched.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There are people who come into our lab and say ‘I knew that was fake the whole time,’” says \u003cem>Empathy at Scale\u003c/em> project manager Elise Ogle. “But for some people, your brain just can’t determine the difference between real life and this powerful visual stimuli that we’re showing you.”\u003c/p>\n\u003cp>\u003cstrong>The 22 bus line story\u003c/strong>\u003c/p>\n\u003cp>As part of their research for the project, the creators of \u003cem>Empathy at Scale\u003c/em> incorporated local stories about homelessness. One they found particularly affecting was \u003cem>Hotel 22\u003c/em>, a short documentary by a Stanford student filmmaker about Valley Transportation Authority \u003ca href=\"http://www.vta.org/routes/rt22\" target=\"_blank\" rel=\"noopener\">bus line 22\u003c/a>, which runs all night between Palo Alto and San Jose. The line is nicknamed “Hotel 22,” because it’s popular with homeless people looking for a safe alternative to sleeping on the streets.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 138190538 w=640 h=360]\u003c/aside>\n\u003cp>\u003ca href=\"https://vimeo.com/138190538\">\u003cem>Hotel 22\u003c/em> by Elizabeth Lo\u003c/a> from \u003ca href=\"https://vimeo.com/shortoftheweek\">Short of the Week\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>The bus, it turns out, is an ideal virtual reality setting for delivering a variety of stories that show how complex the problem of homelessness is. As the bus travels down the street in the VR world, I click on each passenger, and hear a recording of Ogle telling me how they got on the bus.\u003c/p>\n\u003cp>In the back, a man sits with a boy of about 10. “This is a father, Ray, and his son, named Ethan,” Ogle says in a flat, emotionally neutral tone. “Ethan’s mother suffered from a chronic illness and recently passed away. Left with the hospital bills, Ray is in debt. They’re on a family shelter waiting list. So until free spaces become available, they sleep on the bus at night.\u003cem>“\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/271733576″ 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>\u003cstrong>Empathy is uncomfortable\u003c/strong>\u003c/p>\n\u003cp>Jamil Zaki, an assistant professor of psychology at \u003ca href=\"http://ssnl.stanford.edu/\">Stanford’s Social Neuroscience Lab\u003c/a>, helped the VR team design its study, and he says we often go out of our way to avoid feeling empathy. “People are incredibly efficient at cutting the world up into us and them,” Zaki says. “And when they do so, they’re also incredibly efficient at cutting off whoever’s on the other side of that boundary. Even when people acknowledge that someone who’s different from them experiences pain and suffering, they often find ways to blame that individual. They say ‘Well, that person’s having a bad time, but it’s because of the choices that they made. I would never been in that position.’”\u003c/p>\n\u003cp>[contextly_sidebar id=”rSm5iIUjxRt3aztiv3qAbmK9w2V2jhfe”]\u003c/p>\n\u003cp>But wearing a VR headset that engages your ears, eyes and even peripheral vision, makes it hard to shut out the pain of the people or avatars in front of you. “Once you understand the world as someone else sees it, and inhabit their inner life, you’re on the hook!” Zaki says. “You now, in essence, have a responsibility to care for that person, and maybe invest in their well-being.”\u003cbr>\nAs University of Southern California VR researcher \u003ca href=\"http://www.immersivejournalism.com/\" target=\"_blank\" rel=\"noopener\">Nonny de la Peña\u003c/a> explained in a recent TED talk, the VR scenario may also force people to confront strong emotions like panic when events occur that they feel powerless to stop. (Even though, physically, you could just take your headset off.)\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=zsLz0mRmEG0]\u003c/p>\n\u003cp>\u003cstrong>Testing the technology\u003c/strong>\u003c/p>\n\u003cp>The Stanford researchers are looking for a diverse pool of around 1,000 people to test \u003cem>Empathy at Scale\u003c/em> before the end of this year. So they’ve set up a mobile testing unit at places like the \u003ca href=\"http://www.thetech.org/\" target=\"_blank\" rel=\"noopener\">Tech Museum\u003c/a> in San Jose.\u003c/p>\n\u003cp>Jhansi Raju, an ophthalmologist from Chicago, tried out the technology while visiting the Tech Museum with her family recently. She found the \u003cem>Hotel 22\u003c/em> sequence most affecting. “It showed the human side of homelessness,” Raju says. “Everyone’s story was so different.”\u003c/p>\n\u003cp>Raju was especially moved by the story of Ray and his son Ethan. “For me, having a child and imagining how you could live on a bus with a kid, that was very moving and very sad to see,” Rajus says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The study tests the level of empathy a user feels after experiencing the VR narratives by asking various questions after he or she goes through the various scenes. It also offers her the option to donate the $10 gift card she got for participating in the study to a local charity. Raju agrees to donate. “I feel like I’m a pretty aware person, in terms of social issues like that,” Raju says. “But going through this process really makes you experience the feelings and the emotions of it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The burgeoning field of Virtual Reality — or VR as it is commonly known — is a vehicle for telling stories through 360-degree visuals and sound that put you right in the middle of the action, be it at a crowded \u003ca href=\"https://www.youtube.com/watch?v=iXHil1TPxvA&feature=youtu.be&t=6m30s\" target=\"_blank\" rel=\"noopener\">Syrian refugee camp\u003c/a>, or inside the body of an \u003ca href=\"https://www.genworth.com/lets-talk/r70i-aging-experience.html\" target=\"_blank\" rel=\"noopener\">85-year-old with a bad hip and cataracts\u003c/a>. Because of VR’s immersive properties, some people describe the medium as “the ultimate empathy machine.” But can it make people care about something as fraught and multi-faceted as homelessness?\u003c/p>\n\u003cp>A study in progress at Stanford’s \u003ca href=\"https://vhil.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Virtual Human Interaction Lab\u003c/a> explores that question, and I strapped on an \u003ca href=\"https://www.oculus.com/en-us/\" target=\"_blank\" rel=\"noopener\">Oculus Rift\u003c/a> headset (one of the most popular devices people currently use to experience VR) to look for an answer.\u003c/p>\n\u003cp>\u003cstrong>A new way of understanding homelessness\u003c/strong>\u003c/p>\n\u003cp>The study, called \u003cem>\u003ca href=\"https://vhil.stanford.edu/projects/2015/empathy-at-scale/\" target=\"_blank\" rel=\"noopener\">Empathy at Scale\u003c/a>,\u003c/em> puts participants in a variety of scenes designed to help them imagine the experience of being homeless themselves.\u003c/p>\n\u003cfigure id=\"attachment_11744366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11744366 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg\" alt=\"'Empathy at Scale,' a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-400x240.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-1180x709.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut-960x577.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19971_HomelessStudy_Scene2-qut.jpg 1449w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Empathy at Scale,’ a computer simulation developed by Stanford researchers, attempts to help you experience what it is to live as a homeless person. \u003ccite>(Photo: Courtesy Stanford’s Virtual Human Interaction Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unlike VR that uses 360-degree video, this dramatization looks like a low-fi video game, so it’s hard to mistake it for reality. Even so, my brain responded to the immersive environment to some extent as if I did perceive it as real. When a cop pulled up and trained a flashlight into the car, I physically flinched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There are people who come into our lab and say ‘I knew that was fake the whole time,’” says \u003cem>Empathy at Scale\u003c/em> project manager Elise Ogle. “But for some people, your brain just can’t determine the difference between real life and this powerful visual stimuli that we’re showing you.”\u003c/p>\n\u003cp>\u003cstrong>The 22 bus line story\u003c/strong>\u003c/p>\n\u003cp>As part of their research for the project, the creators of \u003cem>Empathy at Scale\u003c/em> incorporated local stories about homelessness. One they found particularly affecting was \u003cem>Hotel 22\u003c/em>, a short documentary by a Stanford student filmmaker about Valley Transportation Authority \u003ca href=\"http://www.vta.org/routes/rt22\" target=\"_blank\" rel=\"noopener\">bus line 22\u003c/a>, which runs all night between Palo Alto and San Jose. The line is nicknamed “Hotel 22,” because it’s popular with homeless people looking for a safe alternative to sleeping on the streets.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003ca href=\"https://vimeo.com/138190538\">\u003cem>Hotel 22\u003c/em> by Elizabeth Lo\u003c/a> from \u003ca href=\"https://vimeo.com/shortoftheweek\">Short of the Week\u003c/a> on \u003ca href=\"https://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>The bus, it turns out, is an ideal virtual reality setting for delivering a variety of stories that show how complex the problem of homelessness is. As the bus travels down the street in the VR world, I click on each passenger, and hear a recording of Ogle telling me how they got on the bus.\u003c/p>\n\u003cp>In the back, a man sits with a boy of about 10. “This is a father, Ray, and his son, named Ethan,” Ogle says in a flat, emotionally neutral tone. “Ethan’s mother suffered from a chronic illness and recently passed away. Left with the hospital bills, Ray is in debt. They’re on a family shelter waiting list. So until free spaces become available, they sleep on the bus at night.\u003cem>“\u003c/em>\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/271733576″&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/271733576″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Empathy is uncomfortable\u003c/strong>\u003c/p>\n\u003cp>Jamil Zaki, an assistant professor of psychology at \u003ca href=\"http://ssnl.stanford.edu/\">Stanford’s Social Neuroscience Lab\u003c/a>, helped the VR team design its study, and he says we often go out of our way to avoid feeling empathy. “People are incredibly efficient at cutting the world up into us and them,” Zaki says. “And when they do so, they’re also incredibly efficient at cutting off whoever’s on the other side of that boundary. Even when people acknowledge that someone who’s different from them experiences pain and suffering, they often find ways to blame that individual. They say ‘Well, that person’s having a bad time, but it’s because of the choices that they made. I would never been in that position.’”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But wearing a VR headset that engages your ears, eyes and even peripheral vision, makes it hard to shut out the pain of the people or avatars in front of you. “Once you understand the world as someone else sees it, and inhabit their inner life, you’re on the hook!” Zaki says. “You now, in essence, have a responsibility to care for that person, and maybe invest in their well-being.”\u003cbr>\nAs University of Southern California VR researcher \u003ca href=\"http://www.immersivejournalism.com/\" target=\"_blank\" rel=\"noopener\">Nonny de la Peña\u003c/a> explained in a recent TED talk, the VR scenario may also force people to confront strong emotions like panic when events occur that they feel powerless to stop. (Even though, physically, you could just take your headset off.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zsLz0mRmEG0'\n title='//www.youtube.com/embed/zsLz0mRmEG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Testing the technology\u003c/strong>\u003c/p>\n\u003cp>The Stanford researchers are looking for a diverse pool of around 1,000 people to test \u003cem>Empathy at Scale\u003c/em> before the end of this year. So they’ve set up a mobile testing unit at places like the \u003ca href=\"http://www.thetech.org/\" target=\"_blank\" rel=\"noopener\">Tech Museum\u003c/a> in San Jose.\u003c/p>\n\u003cp>Jhansi Raju, an ophthalmologist from Chicago, tried out the technology while visiting the Tech Museum with her family recently. She found the \u003cem>Hotel 22\u003c/em> sequence most affecting. “It showed the human side of homelessness,” Raju says. “Everyone’s story was so different.”\u003c/p>\n\u003cp>Raju was especially moved by the story of Ray and his son Ethan. “For me, having a child and imagining how you could live on a bus with a kid, that was very moving and very sad to see,” Rajus says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Now that \u003ci>Star Wars\u003c/i> creator George Lucas has given up on building a museum in Chicago and is looking again at bringing it to California, it also looks like its design will be different, even if slightly, according to the San Francisco Chronicle.\u003c/p>\n\u003cp>[contextly_sidebar id=”oSglLS6d55LrmnR4tNzFJE2EFI6zzh7n”]\u003c/p>\n\u003cp>Last week, the Chicago Tribune quoted Lucas saying that he was \u003ca href=\"http://ww2.kqed.org/news/2016/06/24/lucas-gives-up-on-plan-to-build-museum-in-chicago\" target=\"_blank\" rel=\"noopener\">abandoning plans to build the Lucas Museum of Narrative Art\u003c/a> on Lake Michigan’s waterfront after running into legal resistance from Chicago activists. There was talk of Lucas considering \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\" rel=\"noopener\">Treasure Island as a site\u003c/a> back in May, and now it looks like he will be choosing between there and Los Angeles, near the University of Southern California, his Alma Mater.\u003c/p>\n\u003cp>Over the weekend, Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/George-Lucas-SF-museum-Like-Chicago-but-this-8324501.php\" target=\"_blank\" rel=\"noopener\">Phil Matier and Andy Ross\u003c/a> reported that if Lucas chooses to build the museum on Treasure Island, he would have it redesigned to allow for views of the San Francisco Bay. \u003c/p>\n\u003cblockquote>\u003cp>“It’s quite iconic and still sculptural,” said one source connected to the planning for a possible San Francisco museum. However, unlike the largely windowless structure that Lucas hoped to build by Lake Michigan, a Treasure Island museum would be designed to give visitors sweeping views of the bay and city, said the source, speaking on condition of anonymity because the process is still in the early stages.\u003c/p>\u003c/blockquote>\n\u003cp>Deirdre Hussey, a spokesperson for San Francisco Mayor Ed Lee, said on Friday that Lee’s office and some supervisors “are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that \u003ci>Star Wars\u003c/i> creator George Lucas has given up on building a museum in Chicago and is looking again at bringing it to California, it also looks like its design will be different, even if slightly, according to the San Francisco Chronicle.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Last week, the Chicago Tribune quoted Lucas saying that he was \u003ca href=\"http://ww2.kqed.org/news/2016/06/24/lucas-gives-up-on-plan-to-build-museum-in-chicago\" target=\"_blank\" rel=\"noopener\">abandoning plans to build the Lucas Museum of Narrative Art\u003c/a> on Lake Michigan’s waterfront after running into legal resistance from Chicago activists. There was talk of Lucas considering \u003ca href=\"http://www.sfchronicle.com/bayarea/article/Lucas-Museum-could-boost-Treasure-Island-transit-7513391.php\" target=\"_blank\" rel=\"noopener\">Treasure Island as a site\u003c/a> back in May, and now it looks like he will be choosing between there and Los Angeles, near the University of Southern California, his Alma Mater.\u003c/p>\n\u003cp>Over the weekend, Chronicle columnists \u003ca href=\"http://www.sfchronicle.com/bayarea/matier-ross/article/George-Lucas-SF-museum-Like-Chicago-but-this-8324501.php\" target=\"_blank\" rel=\"noopener\">Phil Matier and Andy Ross\u003c/a> reported that if Lucas chooses to build the museum on Treasure Island, he would have it redesigned to allow for views of the San Francisco Bay. \u003c/p>\n\u003cblockquote>\u003cp>“It’s quite iconic and still sculptural,” said one source connected to the planning for a possible San Francisco museum. However, unlike the largely windowless structure that Lucas hoped to build by Lake Michigan, a Treasure Island museum would be designed to give visitors sweeping views of the bay and city, said the source, speaking on condition of anonymity because the process is still in the early stages.\u003c/p>\u003c/blockquote>\n\u003cp>Deirdre Hussey, a spokesperson for San Francisco Mayor Ed Lee, said on Friday that Lee’s office and some supervisors “are working closely with the Lucas team to have a home for his world-class collection on Treasure Island.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.share.responsive-true.html\" width=\"100%\" height=\"535\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=\"aWsmIHOpZj22g3OFlTbGyfo2hTCeCeQs\"]At the BET Awards on Sunday night, after receiving the network's humanitarian award, Jesse Williams began with the usual litany of thanks. Standing with a slight hunch over a too-short microphone, he celebrated his parents and his wife.\u003c/p>\n\u003cp>With that out of the way, the \u003cem>real \u003c/em>speech began.\u003c/p>\n\u003cp>\"This award, this is not for me,\" the activist and \u003cem>Grey's Anatomy\u003c/em> star said. He honored activists, civil rights attorneys, parents, teachers, and \"the students that are realizing that a system built to divide and impoverish and destroy us cannot stand if we do.\" He particularly celebrated black women.\u003c/p>\n\u003cp>He condemned police brutality against people of color: \"What we've been doing is looking at the data, and we know that police somehow manage to de-escalate, disarm and not kill white people every day. So what's gonna happen is we are going to have equal rights and justice in our own country, or we will restructure their function, and ours.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The crowd rose in a standing ovation.\u003c/p>\n\u003cp>\"I got more, y'all,\" Williams said.\u003c/p>\n\u003cp>\"I don't want to hear anymore about how far we've come when paid public servants can pull a drive-by on a 12-year-old playing alone in a park in broad daylight, killing him on television and then going home to make a sandwich,\" he said, invoking the name of not just \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/25/475583746/cleveland-to-pay-6-million-to-settle-tamir-rice-lawsuit\" target=\"_blank\">Tamir Rice\u003c/a> but also \u003ca href=\"https://soundcloud.com/afternoonshiftwbez/judge-dismisses-all-charges-against-cpd-detective-in-rekia-boyd-shooting-death\" target=\"_blank\">Rekia Boyd\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/13/422703725/nyc-settles-with-family-of-eric-garner-for-5-9-million\" target=\"_blank\">Eric Garner\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/23/471551331/former-trooper-pleads-not-guilty-to-perjury-over-arrest-of-sandra-bland\" target=\"_blank\">Sandra Bland\u003c/a> and \u003ca href=\"http://kutv.com/news/local/judge-dismisses-darrien-hunt-fatal-police-shooting-suit-appeal-possible\" target=\"_blank\">Darrien Hunt\u003c/a>.\u003c/p>\n\u003cp>Then he told a room packed with black celebrities that just making money \"isn't gonna stop this.\" He continued:\u003c/p>\n\u003cblockquote>\u003cp>\"There has been no war that we have not fought and died on the front lines of. There has been no job we haven't done. There's no tax they haven't levied against us. And we've paid all of them. But freedom is somehow always conditional here. 'You're free,' they keep telling us. 'But she would have been alive if she hadn't acted so — \u003cem>free\u003c/em>.'\u003c/p>\n\u003cp>\"Now, freedom is always coming in the hereafter. But you know what, though? The hereafter is a hustle. We want it now.\"\u003c/p>\u003c/blockquote>\n\u003cp>He excoriated those who criticize black activists but don't call out oppression and brutality. And he had sharp words for those who profit off black culture without promoting black equality.\u003c/p>\n\u003cp>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind, while extracting our culture, our dollars, our entertainment like oil — black gold. Ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit,\" Williams said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch \u003ca href=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.html\" target=\"_blank\">the whole video\u003c/a> above.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+Jesse+Williams+On+Black+Lives%2C+Equal+Rights+And+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "As he accepted BET's Humanitarian Award, the actor spoke about police brutality, oppression and the appropriation of black culture. \"We've been floating this country on credit for centuries,\" he said.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.share.responsive-true.html\" width=\"100%\" height=\"535\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>At the BET Awards on Sunday night, after receiving the network's humanitarian award, Jesse Williams began with the usual litany of thanks. Standing with a slight hunch over a too-short microphone, he celebrated his parents and his wife.\u003c/p>\n\u003cp>With that out of the way, the \u003cem>real \u003c/em>speech began.\u003c/p>\n\u003cp>\"This award, this is not for me,\" the activist and \u003cem>Grey's Anatomy\u003c/em> star said. He honored activists, civil rights attorneys, parents, teachers, and \"the students that are realizing that a system built to divide and impoverish and destroy us cannot stand if we do.\" He particularly celebrated black women.\u003c/p>\n\u003cp>He condemned police brutality against people of color: \"What we've been doing is looking at the data, and we know that police somehow manage to de-escalate, disarm and not kill white people every day. So what's gonna happen is we are going to have equal rights and justice in our own country, or we will restructure their function, and ours.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The crowd rose in a standing ovation.\u003c/p>\n\u003cp>\"I got more, y'all,\" Williams said.\u003c/p>\n\u003cp>\"I don't want to hear anymore about how far we've come when paid public servants can pull a drive-by on a 12-year-old playing alone in a park in broad daylight, killing him on television and then going home to make a sandwich,\" he said, invoking the name of not just \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/04/25/475583746/cleveland-to-pay-6-million-to-settle-tamir-rice-lawsuit\" target=\"_blank\">Tamir Rice\u003c/a> but also \u003ca href=\"https://soundcloud.com/afternoonshiftwbez/judge-dismisses-all-charges-against-cpd-detective-in-rekia-boyd-shooting-death\" target=\"_blank\">Rekia Boyd\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/13/422703725/nyc-settles-with-family-of-eric-garner-for-5-9-million\" target=\"_blank\">Eric Garner\u003c/a> and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/03/23/471551331/former-trooper-pleads-not-guilty-to-perjury-over-arrest-of-sandra-bland\" target=\"_blank\">Sandra Bland\u003c/a> and \u003ca href=\"http://kutv.com/news/local/judge-dismisses-darrien-hunt-fatal-police-shooting-suit-appeal-possible\" target=\"_blank\">Darrien Hunt\u003c/a>.\u003c/p>\n\u003cp>Then he told a room packed with black celebrities that just making money \"isn't gonna stop this.\" He continued:\u003c/p>\n\u003cblockquote>\u003cp>\"There has been no war that we have not fought and died on the front lines of. There has been no job we haven't done. There's no tax they haven't levied against us. And we've paid all of them. But freedom is somehow always conditional here. 'You're free,' they keep telling us. 'But she would have been alive if she hadn't acted so — \u003cem>free\u003c/em>.'\u003c/p>\n\u003cp>\"Now, freedom is always coming in the hereafter. But you know what, though? The hereafter is a hustle. We want it now.\"\u003c/p>\u003c/blockquote>\n\u003cp>He excoriated those who criticize black activists but don't call out oppression and brutality. And he had sharp words for those who profit off black culture without promoting black equality.\u003c/p>\n\u003cp>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind, while extracting our culture, our dollars, our entertainment like oil — black gold. Ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit,\" Williams said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch \u003ca href=\"http://www.bet.com/video/betawards/2016/acceptance-speeches/jesse-williams-receives-humanitarian-award.html\" target=\"_blank\">the whole video\u003c/a> above.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+Jesse+Williams+On+Black+Lives%2C+Equal+Rights+And+Freedom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Justin Timberlake Finally Gets Called Out, 12 Years after Nipplegate",
"title": "Justin Timberlake Finally Gets Called Out, 12 Years after Nipplegate",
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"content": "\u003cp>[contextly_sidebar id=\"DTeLk36yQMgO2Zg2fdDQmQFL2wpaixAx\"]Justin Timberlake means a lot of things to people. Maybe he was your first crush back in the NSYNC days. Maybe he emboldened you to try out \u003ca href=\"http://esq.h-cdn.co/assets/cm/15/07/54da4e972127b_-_justin-timberlake-wi-0608-lg-18970743.jpg\">an all-denim look\u003c/a> or \u003ca href=\"http://cdn-wpmsa.defymedia.com/wp-content/uploads/sites/3/2015/01/justin-timberlake-ramen-noodles-birthday-collage.jpg\">an edgy Ramen noodle hairstyle\u003c/a>. Or maybe he taught you a lesson about the Teflon nature of white male privilege and how, for some, nothing bad sticks.\u003c/p>\n\u003cp>But times are a-changing. Last night at the BET Awards, Jesse Williams delivered a speech that will blast your understanding of what getting goosebumps feels like to all-new stratospheric levels.\u003c/p>\n\u003cp>If you don't have time to \u003ca href=\"http://ww2.kqed.org/pop/2016/06/27/watch-jesse-williams-on-black-lives-equal-rights-and-freedom/\">watch it in full\u003c/a>, make time. If that's not possible for some reason (nosy boss, bad internet connection, what have you), here are some choice lines that'll give you an idea of what we're working with here:\u003c/p>\n\u003cul>\n\u003cli>\u003ci>\"Police somehow manage to deescalate, disarm and not kill white people everyday. So what's going to happen is we are going to have equal rights and justice in our own country or we will restructure their function and ours.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"The burden of the brutalized is not to comfort the bystander. That's not our job, alright - stop with all that. If you have a critique for the resistance, for our resistance, then you better have an established record of critique of our oppression. If you have no interest in equal rights for black people, then do not make suggestions to those who do. Sit down.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil - black gold, ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit. Just because we're magic doesn't mean we're not real.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cp>Justin Timberlake was presumably watching at home and felt moved, as anyone should. He decided to tweet from his glass house.\u003c/p>\n\u003cp>https://twitter.com/jtimberlake/status/747257470314131456\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seems harmless. Jesse does deserve props for that speech. But there is an absurd lack of self-awareness at work here. One of the major points of Jesse's speech is that black art is so often devalued, only to be appropriated by white people and reevaluated as suddenly worthy. No one knows this better than Justin Timberlake, who has made a career out of \u003ca href=\"https://www.youtube.com/watch?v=RXl4DB34yTk\">co-opting black culture \u003c/a>and gaining the kind of success that is rarely afforded to those who originated it.\u003c/p>\n\u003cp>Twitter helpfully pointed this out for him:\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/747273043379052544\u003c/p>\n\u003cp>This is where Justin should have logged off. But no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1.png\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1-800x339.png\" alt=\"sweet soul_1\" width=\"800\" height=\"339\" class=\"aligncenter size-medium wp-image-33628\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-800x339.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-400x170.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-768x326.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-960x407.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>A one-two punch of condescension (\"sweet soul\"? really?!) and #AllLivesMatter / #We'reAllAfrican sentiment? Plus, a sardonic \"bye\" send-off? Justin, you are not Beyonce and people on Twitter speaking truth are not Felicia.\u003c/p>\n\u003cp>https://twitter.com/CerromeRussell/status/747404875445768192?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Felonious_munk/status/747283831753838592?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/Princesskeshia1/status/747358805281873924?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>Yes, Justin, we are all human beings and \u003cem>should\u003c/em> be treated equally, but that's not our current reality. When someone from a marginalized group expresses his or her feelings on their lived experience, it is not appropriate to step in and say something that makes their message about you. Sometimes the best way to be an ally is to know when to stop talking and start listening.\u003c/p>\n\u003cp>For over a decade, Justin has gotten away with being mediocre (\u003ca href=\"https://www.youtube.com/watch?v=p5RobDomh5U\">his last single\u003c/a>, which is horrible, went straight to #1) and being a coward (lest we forget how he left Janet Jackson out to dry, after ripping her Super Bowl Halftime outfit). Judging by the response to \u003ca href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">an essay I wrote earlier this year about Nipplegate\u003c/a>, it seems like many \u003cem>have\u003c/em> forgotten. For those who missed it, here's something to chew on:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When he sings, “Better have you naked by the end of this song,” he was supposed to pull Janet’s bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, The Washington Post’s Tony Kornheiser wrote, “What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.” Justin’s grabbing hand is entirely erased from the scene.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The senseless sexism didn’t end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on SNL and become a movie star.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And what's worse is that Justin let Janet take all the heat, more concerned with making it as a solo artist than doing the right thing. Granted, the way America so easily absolved him of any wrongdoing wasn't really up to him and speaks to a national legacy of racism and sexism that's far bigger than one single boy band member. But what was up to him was whether or not he used his privilege to highlight the unfair advantage he enjoys in this world and the hypocrisy of it all.\u003c/p>\n\u003cp>If Twitter had been around back in 2004, maybe Janet and Justin's career trajectories would have taken different courses. Maybe so many wouldn't have kept quiet as Justin moonwalked away from the mess he helped create, using Janet's brother's appropriated dance moves to boot. There's no way to know.\u003c/p>\n\u003cp>Today, Justin apologized for his tweet and says he feels \"misunderstood.\" So does Janet. So do many African Americans. So do most people who aren't straight white dudes.\u003c/p>\n\u003cp>It's time for Justin to take a seat and some of his own medicine, the same dose he prescribed for Britney, another woman he used and then discarded to get to where he is today: Cry me a river.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-28050\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\" alt=\"justin cry me a river gif\" width=\"595\" height=\"335\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, listen to this episode of The Cooler:\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/245551173&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Or read all about it:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Justin Timberlake means a lot of things to people. Maybe he was your first crush back in the NSYNC days. Maybe he emboldened you to try out \u003ca href=\"http://esq.h-cdn.co/assets/cm/15/07/54da4e972127b_-_justin-timberlake-wi-0608-lg-18970743.jpg\">an all-denim look\u003c/a> or \u003ca href=\"http://cdn-wpmsa.defymedia.com/wp-content/uploads/sites/3/2015/01/justin-timberlake-ramen-noodles-birthday-collage.jpg\">an edgy Ramen noodle hairstyle\u003c/a>. Or maybe he taught you a lesson about the Teflon nature of white male privilege and how, for some, nothing bad sticks.\u003c/p>\n\u003cp>But times are a-changing. Last night at the BET Awards, Jesse Williams delivered a speech that will blast your understanding of what getting goosebumps feels like to all-new stratospheric levels.\u003c/p>\n\u003cp>If you don't have time to \u003ca href=\"http://ww2.kqed.org/pop/2016/06/27/watch-jesse-williams-on-black-lives-equal-rights-and-freedom/\">watch it in full\u003c/a>, make time. If that's not possible for some reason (nosy boss, bad internet connection, what have you), here are some choice lines that'll give you an idea of what we're working with here:\u003c/p>\n\u003cul>\n\u003cli>\u003ci>\"Police somehow manage to deescalate, disarm and not kill white people everyday. So what's going to happen is we are going to have equal rights and justice in our own country or we will restructure their function and ours.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"The burden of the brutalized is not to comfort the bystander. That's not our job, alright - stop with all that. If you have a critique for the resistance, for our resistance, then you better have an established record of critique of our oppression. If you have no interest in equal rights for black people, then do not make suggestions to those who do. Sit down.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>\u003ci>\"We've been floating this country on credit for centuries, yo, and we're done watching and waiting while this invention called whiteness uses and abuses us, burying black people out of sight and out of mind while extracting our culture, our dollars, our entertainment like oil - black gold, ghettoizing and demeaning our creations then stealing them, gentrifying our genius and then trying us on like costumes before discarding our bodies like rinds of strange fruit. Just because we're magic doesn't mean we're not real.\"\u003c/i>\u003c/li>\n\u003c/ul>\n\u003cp>Justin Timberlake was presumably watching at home and felt moved, as anyone should. He decided to tweet from his glass house.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seems harmless. Jesse does deserve props for that speech. But there is an absurd lack of self-awareness at work here. One of the major points of Jesse's speech is that black art is so often devalued, only to be appropriated by white people and reevaluated as suddenly worthy. No one knows this better than Justin Timberlake, who has made a career out of \u003ca href=\"https://www.youtube.com/watch?v=RXl4DB34yTk\">co-opting black culture \u003c/a>and gaining the kind of success that is rarely afforded to those who originated it.\u003c/p>\n\u003cp>Twitter helpfully pointed this out for him:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is where Justin should have logged off. But no:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1.png\">\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/sweet-soul_1-800x339.png\" alt=\"sweet soul_1\" width=\"800\" height=\"339\" class=\"aligncenter size-medium wp-image-33628\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-800x339.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-400x170.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-768x326.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1-960x407.png 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/06/sweet-soul_1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>A one-two punch of condescension (\"sweet soul\"? really?!) and #AllLivesMatter / #We'reAllAfrican sentiment? Plus, a sardonic \"bye\" send-off? Justin, you are not Beyonce and people on Twitter speaking truth are not Felicia.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Yes, Justin, we are all human beings and \u003cem>should\u003c/em> be treated equally, but that's not our current reality. When someone from a marginalized group expresses his or her feelings on their lived experience, it is not appropriate to step in and say something that makes their message about you. Sometimes the best way to be an ally is to know when to stop talking and start listening.\u003c/p>\n\u003cp>For over a decade, Justin has gotten away with being mediocre (\u003ca href=\"https://www.youtube.com/watch?v=p5RobDomh5U\">his last single\u003c/a>, which is horrible, went straight to #1) and being a coward (lest we forget how he left Janet Jackson out to dry, after ripping her Super Bowl Halftime outfit). Judging by the response to \u003ca href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">an essay I wrote earlier this year about Nipplegate\u003c/a>, it seems like many \u003cem>have\u003c/em> forgotten. For those who missed it, here's something to chew on:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>When he sings, “Better have you naked by the end of this song,” he was supposed to pull Janet’s bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, The Washington Post’s Tony Kornheiser wrote, “What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.” Justin’s grabbing hand is entirely erased from the scene.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The senseless sexism didn’t end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on SNL and become a movie star.\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>And what's worse is that Justin let Janet take all the heat, more concerned with making it as a solo artist than doing the right thing. Granted, the way America so easily absolved him of any wrongdoing wasn't really up to him and speaks to a national legacy of racism and sexism that's far bigger than one single boy band member. But what was up to him was whether or not he used his privilege to highlight the unfair advantage he enjoys in this world and the hypocrisy of it all.\u003c/p>\n\u003cp>If Twitter had been around back in 2004, maybe Janet and Justin's career trajectories would have taken different courses. Maybe so many wouldn't have kept quiet as Justin moonwalked away from the mess he helped create, using Janet's brother's appropriated dance moves to boot. There's no way to know.\u003c/p>\n\u003cp>Today, Justin apologized for his tweet and says he feels \"misunderstood.\" So does Janet. So do many African Americans. So do most people who aren't straight white dudes.\u003c/p>\n\u003cp>It's time for Justin to take a seat and some of his own medicine, the same dose he prescribed for Britney, another woman he used and then discarded to get to where he is today: Cry me a river.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-28050\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/06/giphy-1.gif\" alt=\"justin cry me a river gif\" width=\"595\" height=\"335\">\u003c/a>\u003c/p>\n\u003cp>\u003cem>To learn more about how troubling Nipplegate really was, listen to this episode of The Cooler:\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/245551173&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Or read all about it:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
"title": "Snapshots From S.F. Pride: A Celebration in Defiance of Hate",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\r\n\r\n",
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"nprByline": "\u003cstrong>Brittany Hosea-Small\u003c/strong> and \u003cstrong>Natalie Yemenidjian \u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">This year’s 46th annual San Francisco Pride Celebration was charged with an energy that was at once hopeful and conflicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sunday’s event is just two weeks after 49 people were gunned down at Pulse, a gay nightclub in Orlando, Florida. Though the pain is fresh, tens of thousands of LGBTQ folks from the Bay Area and around the world came out to the nation’s largest pride parade and celebration. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11001833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001833\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg\" alt=\"Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"552\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-800x552.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-400x276.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-1180x814.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs13-960x663.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three friends console each other in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Valencia consoles her roommate Ryan Kleiner at a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. It's their first San Francisco Pride but their friend Tyler Adamson (right) has been to a different Pride celebration every weekend this month.\u003c/p>\n\u003cfigure id=\"attachment_11001834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001834\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg\" alt=\"Father and daughter watch this years's San Francisco Pride Parade. \" width=\"800\" height=\"1142\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-800x1142.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-400x571.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-1180x1685.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs10-960x1371.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Father and daughter watch this years's San Francisco Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Patrik Lundh carries his 3-year-old daughter, Anika Nayak-Lundh on his shoulders. Lundh says that the Orlando shooting only made me want to celebrate Pride more, to feel the unity against the hatred with so many horrible things happening in the world right now. Pride for Lundh means \"tolerance, love, openness and hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11001835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001835\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg\" alt=\"Ralph Boethling skates on the sidelines of the parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs06-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Boethling skates on the sidelines of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ralph Boethling, with the Church of 8 Wheels, skated around the parade. \"People just want to love each other,\" says Boethling. \"What could possibly be wrong with that?\" Boethling has been coming to Pride for almost 10 years.\u003c/p>\n\u003cfigure id=\"attachment_11001838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001838\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg\" alt=\"Crowds bottleneck at the top of the stairway at Civic Center BART. \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs08-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Crowds bottleneck at the top of the stairway at Civic Center BART. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The parade started at the Embarcadero and followed along Market Street for almost two miles before ending at the Civic Center Plaza where parade-goers were met with metal detectors and police screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some groups were notably not in attendance. When SF Pride organizers announced last week that a \u003ca href=\"http://ww2.kqed.org/news/2016/06/22/what-you-need-to-know-for-pride-this-weekend-expect-increased-security\">greater police presence\u003c/a> would include screening by officers, organizational grand marshal Black Lives Matter withdrew from the event.\u003c/p>\n\u003cfigure id=\"attachment_11001843\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001843 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg\" alt=\"Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade.\" width=\"800\" height=\"1289\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-800x1289.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-400x645.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-1180x1902.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs20-960x1547.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tens of thousands of people were in attendance during the San Francisco Pride Celebration and Parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The increased police presence at Civic Center, as well as the ban on shopping carts and items typically belonging to marginally housed and homeless people will only make Pride less safe and accessible to our communities,” said Stephany Ashley \u003ca href=\"http://blacklivesmatter.com/in-response-to-increased-policing-of-civic-center-grand-marshals-awardees-withdraw-from-participation-in-pride-parade/\">in a press release\u003c/a> from the Black Lives Matter Network. Ashley is the executive director of San Francisco’s St. James Infirmary, a free clinic for sex workers and their families. “These policies do not reflect the theme of racial and economic justice which we sought to march under proudly.”\u003c/p>\n\u003cp>St. James Infirmary was slated to receive the Heritage of Pride Award.\u003c/p>\n\u003cp class=\"p1\">“I understand why they did it,\" says Michael Albert, 63, San Francisco resident who has been coming to SF Pride since the late 1980s. \"I’m not sure it’s necessary; it’s more than we needed. But I’m not going to second guess the people that are running this. “\u003c/p>\n\u003cfigure id=\"attachment_11001836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11001836 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg\" alt=\"Two friends hang from a light post in order to get a better view of the parade.\" width=\"800\" height=\"559\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-800x559.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs07-960x671.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends hang from a light post in order to get a better view of the parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This pole has become a tradition,\" says Matilda Holtz (on the right). \"We're too short to see through the crowd.\"\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_11001839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001839\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg\" alt=\"Two people from Sonoma County Pride march in San Francisco's Pride Parade.\" width=\"800\" height=\"549\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-800x549.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-400x274.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-1180x809.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs12-960x659.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two people from Sonoma County Pride march in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001840\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg\" alt=\"Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets.\" width=\"800\" height=\"570\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-800x570.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-400x285.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-1180x841.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs14-960x684.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two Castro district residents take a moment of silence in front of a memorial for the victims of the Pulse Nightclub shooting in Orlando, Florida on the corner of 18th and Castro Streets. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ivy Schlegel is a Castro resident and chose not to attend this year's Pride parade. She says that the parade is too much of a corporate march and went to the Dyke March on Saturday instead.\u003c/p>\n\u003cfigure id=\"attachment_11001841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001841\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg\" alt=\"Parade-goers from Salesforce were one of many corporations marching in this year's parade.\" width=\"800\" height=\"536\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-800x536.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-400x268.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-1180x790.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs05-960x643.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parade-goers from Salesforce were one of many corporations marching in this year's parade. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salesforce was one of many corporations marching in uniform.\u003c/p>\n\u003cfigure id=\"attachment_11001842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001842\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg\" alt=\"A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street.\" width=\"800\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-800x512.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-1180x755.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs18-960x615.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man holding a sign supporting Pride on behalf of the SF Sheriff's Department marches down Market Street. \u003ccite>( Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11001837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11001837\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg\" alt=\"Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/06/160626_SFPride_bhs11-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two friends travel from Melbourne, Australia to participate in San Francisco's Pride Parade. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>San Francisco Pride is one of the world's most notable Pride celebrations. Matthew Wade (center) and Chrisi Camp came all the way from Australia to support San Francisco's LGBTQ community by volunteering at queer film festival Frameline.\u003c/p>\n\u003cp>\"In Melbourne we have Pride celebrations but nothing compared to SF,\" says Wade.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"masters-of-scale": {
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},
"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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