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"content": "\u003cp>Sunday morning, we woke to the horrifying news of the worst mass shooting in U.S. history. A shooter, who was, according to his father, full of rage over seeing two men kissing months before, walked into an Orlando gay club with a singular goal: murder as many innocent people as possible. And yet I wasn't surprised to hear about any of it.\u003c/p>\n\u003cp>Americans have come to expect mass shootings. The stories of people murdered in their churches, in movie theaters, on college campuses, in elementary schools stay with us; they cling to us like the NRA and certain politicians cling to the Second Amendment. Not even the senseless deaths of 20 children (aged six and seven) at Sandy Hook Elementary could move the meter on the effort for sensible gun laws in this country. And in all honesty, I don't expect the murder of so many queer people -- many of them Latino -- to make a meaningful impact on the gun debate either; after all, LGBT and Latino communities have been ritually dehumanized by our elected officials and our overall culture since time immemorial.\u003c/p>\n\u003cp>Another reason I wasn't surprised that someone would single out LGBT people for execution is because I move through this world as a gay person. We in the LGBT community rarely feel safe, which is why gay clubs exist in the first place. Even in San Francisco, touted as an LGBT Mecca, we constantly monitor how gay or trans we come across, always on the lookout for a person who might turn the moment into one of confrontation or violence. When my partner goes in for a kiss on the street or in a straight space, sometimes I go with it, but I'm not fully there; a part of my mind is always preoccupied with who's watching and what this might mean for us. Sometimes I pull away.\u003c/p>\n\u003cp>This may come as a surprise to some straight people. After all, the impression is we've come so far, what with nationwide marriage equality and the fun gays on \u003cem>Modern Family\u003c/em> and all that. Progress is often confused with the destination.\u003c/p>\n\u003cp>After the Supreme Court finally put an end to the majority going to the ballot box to decide what rights should be afforded to a minority, a friend of mine congratulated me: \"Now gays are fully equal!\" I responded with something along the lines of \"More equal than before, yes. But no, not fully equal.\" The response: \"Well, what else do you want?\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hmm, let's see. How about if:\u003c/p>\n\u003cul>\n\u003cli>the LGBT community had a constitutional amendment to protect us from discrimination (you know, like gun owners have)?\u003c/li>\n\u003cli>sexually active gay men had been allowed to donate blood yesterday, or ever?\u003c/li>\n\u003cli>LGBT people weren't able to be fired or evicted for being who they are in many states?\u003c/li>\n\u003cli>trans people -- and where they decide to pee -- weren't politicized?\u003c/li>\n\u003cli>queer and trans youth didn't experience such a high rate of homelessness and poverty, many times because they've been kicked out of their homes or abused due to their sexuality or gender expression?\u003c/li>\n\u003cli>trans women of color didn't regularly experience such a high rate of police harassment and violence?\u003c/li>\n\u003cli>LGBT teens felt supported and accepted enough that they didn't feel that suicide was the only solution?\u003c/li>\n\u003cli>certain high schools didn't cancel or hold alternate proms simply because a gay person wants to bring a date?\u003c/li>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/mission-mural-endures-third-act-of-vandalism-in-a-month/\">murals featuring queer love weren't routinely defaced\u003c/a>?\u003c/li>\n\u003cli>LGBT people could simply hold hands with their partners without fear of retribution?\u003c/li>\n\u003c/ul>\n\u003cp>I could go on.\u003c/p>\n\u003cp>The friend I mentioned before, along with many others, might not see this side of things because their eyes aren't open enough or because they live in a bubble or because their LGBT friends have grown weary of talking about the oppression they face on a regular basis.\u003c/p>\n\u003cp>When someone asks me about my weekend, I will usually leave out incidents like when a man with a baby strapped to his chest nudged past me in a parking lot and called me a faggot for no reason or when someone tried to knock me off my bike with her car while shouting \"Faggot!\" from her open window or when someone yelled in my face on my last birthday \"That's how you choose to live your life?!\" while his friends stood there and laughed or when just yesterday, at the vigil march for the Orlando victims, a group of teens stood on the sidelines and mocked us with laughter and cries of \"Tear gas them!\" Again, I could go on.\u003c/p>\n\u003cp>For many straight people, gayness is what they see at Pride, a celebration, but what they fail to realize is that this spectacle of fearless expression is the one time of the year when our community congregates to revel in our truth and honor our perseverance and decide that, for at least today, we won't pull back from kisses or hesitate to speak, that we will dress and be exactly how we wish, that we will bravely stand together, despite the homophobic attitudes and laws that affect us the other 364 days of the year.\u003c/p>\n\u003cp>And even at Pride, there is the threat of violence. Look no further than \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-gay-pride-la-weapons-20160612-snap-story.html\">the man authorities apprehended\u003c/a> in LA over the weekend, who had multiple weapons and planned to attend that city's Pride celebrations. And that's saying nothing of other countries, where the expectation is to be beaten, arrested or worse, for participating in Pride events (or just everyday life).\u003c/p>\n\u003cp>When San Francisco celebrates Pride in a few weeks, there will naturally be an added layer of threat, but we're used to feeling unsafe and deciding to bravely be our fullest and truest selves regardless. We will still show up. We will still laugh and dance and march and kiss because what better response is there to hatred than the resilience of love?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Last night's vigil was a way to say no to hatred and yes to love and unity. Here's what that looked like:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/06/13/thousands-gather-in-san-francisco-for-vigil-in-honor-of-orlando-victims/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sunday morning, we woke to the horrifying news of the worst mass shooting in U.S. history. A shooter, who was, according to his father, full of rage over seeing two men kissing months before, walked into an Orlando gay club with a singular goal: murder as many innocent people as possible. And yet I wasn't surprised to hear about any of it.\u003c/p>\n\u003cp>Americans have come to expect mass shootings. The stories of people murdered in their churches, in movie theaters, on college campuses, in elementary schools stay with us; they cling to us like the NRA and certain politicians cling to the Second Amendment. Not even the senseless deaths of 20 children (aged six and seven) at Sandy Hook Elementary could move the meter on the effort for sensible gun laws in this country. And in all honesty, I don't expect the murder of so many queer people -- many of them Latino -- to make a meaningful impact on the gun debate either; after all, LGBT and Latino communities have been ritually dehumanized by our elected officials and our overall culture since time immemorial.\u003c/p>\n\u003cp>Another reason I wasn't surprised that someone would single out LGBT people for execution is because I move through this world as a gay person. We in the LGBT community rarely feel safe, which is why gay clubs exist in the first place. Even in San Francisco, touted as an LGBT Mecca, we constantly monitor how gay or trans we come across, always on the lookout for a person who might turn the moment into one of confrontation or violence. When my partner goes in for a kiss on the street or in a straight space, sometimes I go with it, but I'm not fully there; a part of my mind is always preoccupied with who's watching and what this might mean for us. Sometimes I pull away.\u003c/p>\n\u003cp>This may come as a surprise to some straight people. After all, the impression is we've come so far, what with nationwide marriage equality and the fun gays on \u003cem>Modern Family\u003c/em> and all that. Progress is often confused with the destination.\u003c/p>\n\u003cp>After the Supreme Court finally put an end to the majority going to the ballot box to decide what rights should be afforded to a minority, a friend of mine congratulated me: \"Now gays are fully equal!\" I responded with something along the lines of \"More equal than before, yes. But no, not fully equal.\" The response: \"Well, what else do you want?\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hmm, let's see. How about if:\u003c/p>\n\u003cul>\n\u003cli>the LGBT community had a constitutional amendment to protect us from discrimination (you know, like gun owners have)?\u003c/li>\n\u003cli>sexually active gay men had been allowed to donate blood yesterday, or ever?\u003c/li>\n\u003cli>LGBT people weren't able to be fired or evicted for being who they are in many states?\u003c/li>\n\u003cli>trans people -- and where they decide to pee -- weren't politicized?\u003c/li>\n\u003cli>queer and trans youth didn't experience such a high rate of homelessness and poverty, many times because they've been kicked out of their homes or abused due to their sexuality or gender expression?\u003c/li>\n\u003cli>trans women of color didn't regularly experience such a high rate of police harassment and violence?\u003c/li>\n\u003cli>LGBT teens felt supported and accepted enough that they didn't feel that suicide was the only solution?\u003c/li>\n\u003cli>certain high schools didn't cancel or hold alternate proms simply because a gay person wants to bring a date?\u003c/li>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/mission-mural-endures-third-act-of-vandalism-in-a-month/\">murals featuring queer love weren't routinely defaced\u003c/a>?\u003c/li>\n\u003cli>LGBT people could simply hold hands with their partners without fear of retribution?\u003c/li>\n\u003c/ul>\n\u003cp>I could go on.\u003c/p>\n\u003cp>The friend I mentioned before, along with many others, might not see this side of things because their eyes aren't open enough or because they live in a bubble or because their LGBT friends have grown weary of talking about the oppression they face on a regular basis.\u003c/p>\n\u003cp>When someone asks me about my weekend, I will usually leave out incidents like when a man with a baby strapped to his chest nudged past me in a parking lot and called me a faggot for no reason or when someone tried to knock me off my bike with her car while shouting \"Faggot!\" from her open window or when someone yelled in my face on my last birthday \"That's how you choose to live your life?!\" while his friends stood there and laughed or when just yesterday, at the vigil march for the Orlando victims, a group of teens stood on the sidelines and mocked us with laughter and cries of \"Tear gas them!\" Again, I could go on.\u003c/p>\n\u003cp>For many straight people, gayness is what they see at Pride, a celebration, but what they fail to realize is that this spectacle of fearless expression is the one time of the year when our community congregates to revel in our truth and honor our perseverance and decide that, for at least today, we won't pull back from kisses or hesitate to speak, that we will dress and be exactly how we wish, that we will bravely stand together, despite the homophobic attitudes and laws that affect us the other 364 days of the year.\u003c/p>\n\u003cp>And even at Pride, there is the threat of violence. Look no further than \u003ca href=\"http://www.latimes.com/local/lanow/la-me-ln-gay-pride-la-weapons-20160612-snap-story.html\">the man authorities apprehended\u003c/a> in LA over the weekend, who had multiple weapons and planned to attend that city's Pride celebrations. And that's saying nothing of other countries, where the expectation is to be beaten, arrested or worse, for participating in Pride events (or just everyday life).\u003c/p>\n\u003cp>When San Francisco celebrates Pride in a few weeks, there will naturally be an added layer of threat, but we're used to feeling unsafe and deciding to bravely be our fullest and truest selves regardless. We will still show up. We will still laugh and dance and march and kiss because what better response is there to hatred than the resilience of love?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Last night's vigil was a way to say no to hatred and yes to love and unity. Here's what that looked like:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco has a new landmark — a statue almost 100-feet-tall — and the public won’t be seeing it until next year.\u003c/p>\n\u003cp>The 92-foot-tall “Venus” was unveiled to the media Friday behind construction site fences. Now the tallest sculpture in the city, “Venus” is the centerpiece of a large public art collection that will live in the piazza of Trinity Place, a massive 1,900-unit apartment complex being built on 8th Street, between Market and Mission. It’s expected to be completed by March of 2017. \u003c/p>\n\u003cfigure id=\"attachment_11671539\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg\" alt='\"Venus\" and artist Lawrence Argent ' width=\"450\" height=\"600\" class=\"size-medium wp-image-11671539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank.jpg 810w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Venus” and artist Lawrence Argent \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The statue is to be the centerpiece of “C’era Una Volta” (“Once Upon a Time” in Italian), a one-acre public art park described as Trinity Properties founder — and once San Francisco’s biggest landlord — Angelo Sangiacomo’s “lasting gift to his beloved city.” Sangiacomo, who died \u003ca href=\"http://www.sfgate.com/bayarea/article/Angelo-Sangiacomo-one-of-S-F-s-biggest-6684910.php\" target=\"_blank\" rel=\"noopener\">last December at the age of 91\u003c/a>, envisioned a collection of large pieces that reference the aesthetics of canonical works, according to Venus’s creator, \u003ca href=\"http://lawrenceargent.com/\" target=\"_blank\" rel=\"noopener\">artist Lawrence Argent\u003c/a>. For example, “Venus” is Argent’s take on the famous ancient Greek statue commonly referred to as “Venus de Milo.” \u003c/p>\n\u003cp>“Angelo had an innate understanding of materials and the complexities of art,” Argent said. \u003c/p>\n\u003cp>The statue was unveiled on June 10, Sangiacomo’s birthday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The sculpture is comprised of several hand-molded stainless steel panels that were brought here in 16 shipping containers from China. It took almost a month to put together the swirling steel statue, which Argent says he intended to look like it was coming out of the ground, “like a genie from a bottle.”\u003c/p>\n\u003cp>Argent, an Australian artist, has designed several \u003ca href=\"http://lawrenceargent.com/bio/\" target=\"_blank\" rel=\"noopener\">public art installations\u003c/a>, including a 56-foot-long steel piece called “Leap” that is hanging in Terminal B of the Sacramento International Airport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Correction:\u003c/b> This story, \u003ca href=\"https://twitter.com/artattrinitysf\" target=\"_blank\" rel=\"noopener\">like many others\u003c/a>, reported that the statue was almost as tall as the Statue of Liberty. The Statue of Liberty is 151 feet tall from its feet to the top of the torch, but it \u003ca href=\"http://www.libertyellisfoundation.org/statue-facts\" target=\"_blank\" rel=\"noopener\">is only 111 feet tall from its feet to the top of its head\u003c/a>. Still, it is not accurate to say the statue is almost as tall as the Statue of Liberty and we apologize.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11671710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg\" alt='Another view of \"Venus\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-11671710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of “Venus” \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco has a new landmark — a statue almost 100-feet-tall — and the public won’t be seeing it until next year.\u003c/p>\n\u003cp>The 92-foot-tall “Venus” was unveiled to the media Friday behind construction site fences. Now the tallest sculpture in the city, “Venus” is the centerpiece of a large public art collection that will live in the piazza of Trinity Place, a massive 1,900-unit apartment complex being built on 8th Street, between Market and Mission. It’s expected to be completed by March of 2017. \u003c/p>\n\u003cfigure id=\"attachment_11671539\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg\" alt='\"Venus\" and artist Lawrence Argent ' width=\"450\" height=\"600\" class=\"size-medium wp-image-11671539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-400x533.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Venus-artist-shrank.jpg 810w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">“Venus” and artist Lawrence Argent \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The statue is to be the centerpiece of “C’era Una Volta” (“Once Upon a Time” in Italian), a one-acre public art park described as Trinity Properties founder — and once San Francisco’s biggest landlord — Angelo Sangiacomo’s “lasting gift to his beloved city.” Sangiacomo, who died \u003ca href=\"http://www.sfgate.com/bayarea/article/Angelo-Sangiacomo-one-of-S-F-s-biggest-6684910.php\" target=\"_blank\" rel=\"noopener\">last December at the age of 91\u003c/a>, envisioned a collection of large pieces that reference the aesthetics of canonical works, according to Venus’s creator, \u003ca href=\"http://lawrenceargent.com/\" target=\"_blank\" rel=\"noopener\">artist Lawrence Argent\u003c/a>. For example, “Venus” is Argent’s take on the famous ancient Greek statue commonly referred to as “Venus de Milo.” \u003c/p>\n\u003cp>“Angelo had an innate understanding of materials and the complexities of art,” Argent said. \u003c/p>\n\u003cp>The statue was unveiled on June 10, Sangiacomo’s birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sculpture is comprised of several hand-molded stainless steel panels that were brought here in 16 shipping containers from China. It took almost a month to put together the swirling steel statue, which Argent says he intended to look like it was coming out of the ground, “like a genie from a bottle.”\u003c/p>\n\u003cp>Argent, an Australian artist, has designed several \u003ca href=\"http://lawrenceargent.com/bio/\" target=\"_blank\" rel=\"noopener\">public art installations\u003c/a>, including a 56-foot-long steel piece called “Leap” that is hanging in Terminal B of the Sacramento International Airport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Correction:\u003c/b> This story, \u003ca href=\"https://twitter.com/artattrinitysf\" target=\"_blank\" rel=\"noopener\">like many others\u003c/a>, reported that the statue was almost as tall as the Statue of Liberty. The Statue of Liberty is 151 feet tall from its feet to the top of the torch, but it \u003ca href=\"http://www.libertyellisfoundation.org/statue-facts\" target=\"_blank\" rel=\"noopener\">is only 111 feet tall from its feet to the top of its head\u003c/a>. Still, it is not accurate to say the statue is almost as tall as the Statue of Liberty and we apologize.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11671710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg\" alt='Another view of \"Venus\"' width=\"800\" height=\"600\" class=\"size-medium wp-image-11671710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_1950-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another view of “Venus” \u003ccite>(Photo: Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmaker Claims Beyoncé Stole His Ideas to Make 'Lemonade'",
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"content": "\u003cp>A filmmaker has filed a federal lawsuit in New York against Beyoncé alleging ideas from his short film were used to create the trailer that accompanied her new visual album \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>The suit filed Wednesday in Manhattan also names the singer’s management company, Parkwood Entertainment, along with Sony Music Entertainment and Columbia Recording Corp.\u003c/p>\n\u003cp>Matthew Fulks, of Louisville, Kentucky, alleges the producers of Beyoncé’s \u003cem>Lemonade\u003c/em> copied parts of a short film he produced in 2014.\u003c/p>\n\u003cp>Fulks says a senior vice president at Columbia had been sent a link to his film, \u003cem>Palinoia\u003c/em>.\u003c/p>\n\u003cp>He says \u003cem>Lemonade\u003c/em> was produced months later. Fulks alleges the defendants infringed on his copyright because the two films are visually similar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Representatives for Beyoncé and the corporations didn’t immediately respond to requests for comment Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A filmmaker has filed a federal lawsuit in New York against Beyoncé alleging ideas from his short film were used to create the trailer that accompanied her new visual album \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>The suit filed Wednesday in Manhattan also names the singer’s management company, Parkwood Entertainment, along with Sony Music Entertainment and Columbia Recording Corp.\u003c/p>\n\u003cp>Matthew Fulks, of Louisville, Kentucky, alleges the producers of Beyoncé’s \u003cem>Lemonade\u003c/em> copied parts of a short film he produced in 2014.\u003c/p>\n\u003cp>Fulks says a senior vice president at Columbia had been sent a link to his film, \u003cem>Palinoia\u003c/em>.\u003c/p>\n\u003cp>He says \u003cem>Lemonade\u003c/em> was produced months later. Fulks alleges the defendants infringed on his copyright because the two films are visually similar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Representatives for Beyoncé and the corporations didn’t immediately respond to requests for comment Thursday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Historic Ruth Asawa Fountain Removed, Preserved in Santa Rosa",
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"content": "\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"11669351,11669350,11669349,11669348,11669345,11669418,11669346,11669347\"]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To the cars passing by, it looks like just another fountain, one they’ve driven past hundreds of times before. \u003c/p>\n\u003cp>But here in Santa Rosa’s Courthouse Square, today filled with loud tractors and backhoes to begin a complete overhaul and reunification of the city’s center, a team of six men and women are on hand to ensure the fountain’s panels stay safe. The fountain is, after all, one of the living legacies of famed sculptor Ruth Asawa.\u003c/p>\n\u003cp>“This was a really beloved project,” says conservator Katharine Untch, watching as a crew carefully hammers away grout and sealant. “It was one of those projects where you get the whole community involved, so it was pretty significant, and the installation was closer to the end of her career and life, so it’s special.” \u003c/p>\n\u003cfigure id=\"attachment_11665486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg\" alt=\"A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665486\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A worker helps remove a panel by artist Ruth Asawa from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The fountain panels were \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">installed in 1987\u003c/a> as a joint project between Asawa and \u003ca href=\"http://www.pressdemocrat.com/news/2215536-181/lebaron-remembering-ruth-asawas-gift?ref=related\" target=\"_blank\" rel=\"noopener\">young students of nearby Luther Burbank Elementary School\u003c/a>. In various dough relief vignettes, the wrap-around frieze depicts the history of Sonoma County: Santa Rosa’s train station makes an appearance, as do Mexican settlers, logging trucks, characters from the ‘Peanuts’ comic strip, the Fountaingrove Round Barn, local Grange Halls and more. In what was surely a suggestion from one of the young students in the late 1980s, there’s even a skateboarder wearing a T-shirt that says “RAD.”\u003c/p>\n\u003cp>Santa Rosa’s arts coordinator Tara Thompson says the panels were a priority for the city from the beginning of the Courthouse Square reunification project, and that they’ll be kept in a storage facility in Oakland to be evaluated and preserved until the new square is complete. “The goal is that when the square is finished,” she says, referencing an estimated completion date of November, “there’ll be a new fountain structure that these will be reattached to in a very similar way.”\u003c/p>\n\u003cfigure id=\"attachment_11665488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4951-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who know Asawa only from her wire sculpture are often surprised to learn that she was known in San Francisco as “The Fountain Lady,” designing fountains in Union Square, Japantown, Bayside Plaza, Ghirardelli Square and many other public spaces. Santa Rosa’s fountain is perhaps most similar to \u003ca href=\"http://www.artandarchitecture-sf.com/redding-school-self-portrait.html\" target=\"_blank\" rel=\"noopener\">the Asawa fountain in Boeddeker Park\u003c/a>, in the Tenderloin, which was also designed in collaboration with young schoolchildren. Asawa died in 2013. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the biggest challenges in removing the panels safely was not knowing how they were attached. Untch went through files and folders in the \u003ca href=\"http://www.oac.cdlib.org/findaid/ark:/13030/c8s185rz/dsc/#ref626\" target=\"_blank\" rel=\"noopener\">Ruth Asawa collection at Stanford\u003c/a> to find historical photos of the original installation, which aided the planning immensely. “What made it interesting was that nobody really knew if it was put on with mortar, or adhesive, or what,” Untch says. “The archives were very helpful.” (As it turns out, the frieze was attached with simple bolts.)\u003c/p>\n\u003cfigure id=\"attachment_11665489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg\" alt=\"A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11665489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/IMG_4969-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A panel by artist Ruth Asawa is removed from a fountain in Courthouse Square in Santa Rosa. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Made of glass fiber reinforced concrete, the panels have survived nearly 30 years of weathering and earthquakes, but they’re still fragile. Bryan Cain, foreman for the removal by Atthowe Fine Art Services, points to a panel and explains the challenges.\u003c/p>\n\u003cp>“It’s heavy, first,” Cain says. “It has a concrete lip over the top, so you can’t get over it. You can’t get under it. You have to pull it out, but it’s also fragile. It wants to break, so you have to gently pry it out. You can’t just grab a side and yank on it.”\u003c/p>\n\u003cp>While jackhammers and tractors tear up concrete and brickwork in the square on either side of Cain, he stares at the detail in the fountain panels, testifying to the delicate beauty. “I love Ruth Asawa’s work,” he says, dressed in grubby jeans, an orange vest and a hard hat. “Of all the art around, I’d actually love to own hers. It’s so beautiful.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>\u003cem>See a slideshow of some of the fountain’s detail:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'O.J.: Made In America' is About America, not O.J.",
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"content": "\u003cp>It’s odd to view the O.J. Simpson trial in a renewed cultural spotlight today, 22 years after the murders and 21 years after the verdicts, almost in defiance of our tendency to observe round-number anniversaries. But between FX’s \u003cem>The People vs. O.J. Simpson: American Crime Story \u003c/em>earlier this year and now Ezra Edelman’s 7 1/2-hour documentary \u003cem>O.J.: Made In America\u003c/em>, we are not observing a milestone, but attempting an almost convulsive reckoning with every open or tenuously bound wound the case touched and still touches: racism and sexism, certainly. Class distinctions, especially where they intersect with race. Domestic violence and police brutality as two of our most stubborn examples of a sometimes fatally broken criminal justice system. Extreme wealth and extraordinary celebrity as weapons of distortion and defense.\u003c/p>\n\u003cp>Through sheer repetition, so many words are shibboleths if you were old enough to watch the news in the ’90s: Nicole, Ron, O.J., A.C., Clark, Darden, Cochran, Fuhrman, Ito, Kato, Rockingham, Bundy. Other elements, perhaps half-forgotten, tumble out when the documentary jogs your memory: Paula Barbieri, Bruno Magli, that \u003cem>Saturday Night Live \u003c/em>sketch where all the defense attorneys are dressed as increasingly outlandish “African” caricatures. But Edelman’s eye for detail is so sharp that the film contains, along with its revelations, a contextualizing wisdom that gives it the feel of sociological exploratory surgery: painful and awful, but fascinating and ultimately in service of a much clearer picture.\u003c/p>\n\u003cp>In five parts — each is about 90 minutes without commercials and will run two hours during airings beginning on June 11 on ABC and continuing on ESPN beginning June 14 — the film shows Edelman’s seriousness simply in the scope of its attention. It spends a full chapter on Simpson’s college football career, his Heisman trophy, his rise to the pros, his transition into sportscasting and acting, and, crucially, his entrée into a heavily white circle of friends and business associates. (Says one of Simpson bringing Sidney Poitier to play golf at the Arcola Country Club, where Simpson was the first black member, “Even the bigots thought that was terrific.”)\u003c/p>\n\u003cp>The second chapter is about the two violent histories that would collide so explosively at his trial: his history of domestic violence against Nicole and the history of violence by the police (and sometimes by others) against black people in Los Angeles — particularly, but not exclusively, black men. The third and fourth chapters concern the murders, the investigation, the Bronco chase, and most of the trial. The fifth largely concerns itself with what happened after Simpson was acquitted, only to eventually go to prison over a plot to gather some guys (who brought at least one gun) and go take back sports memorabilia he thought had been stolen from him.\u003c/p>\n\u003cfigure id=\"attachment_11665310\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg\" alt=\"O.J. Simpson at the Buffalo Bills' Rich Stadium press conference circa 1975\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson at the Buffalo Bills’ Rich Stadium press conference circa 1975. \u003ccite>(Photo: Mickey Osterreicher via ESPN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Edelman draws, as only a man who has nearly eight hours to speak to you can, the connections between the story of O.J. Simpson and the history that was all around him — that’s what \u003cem>Made In America \u003c/em>means. There are strands connecting his case to Rodney King, obviously, but also to other cases of violence against black people in Los Angeles, not to mention the migration of black people into LA in the ’40s and ’50s to begin with. Edelman places Simpson’s collegiate celebrity in the context of rising activism among black athletes in the late 1960s — activism Simpson wanted no part of, according to Dr. Harry Edwards, the sociologist who quotes him as offering the now-famous words, “I’m not black, I’m O.J.” Those weren’t just playful words: Edwards says Simpson offered them specifically as his reason for not getting involved in civil rights activism. Everywhere Edelman turns in his examination of Simpson’s life, he finds something that resonated in the story that came to define that life even more than football. And it’s safe to say O.J. Simpson never expected to be defined by anything more than by football.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edelman’s direction is confident throughout the project (which also got a theatrical release to qualify it for Oscars), and his expansive focus is complemented by a structural rigor that prevents pure sprawl. Other characters emerge with stories of their own. There’s Ron Shipp, a friend of Simpson’s who chose to testify against him and was subjected to a cross-examination he says was so brutal it convinced others not to do the same. There are civil rights activists who came to different conclusions about whether this was really properly viewed as a civil rights case. There’s Barry Scheck, the defense’s DNA expert, who strains to make understood his belief that what he believes as to guilt or innocence (or evidence-planting) is simply not the right question to ask a defense lawyer. There’s a juror who says the group barely deliberated because they’d simply been locked up too long, and another who suggests the prosecution could have won her vote if they had “come correct.” Every huge story is a patchwork of smaller stories, and what an excellent documentarian can do is both tell those stories and explain how they assembled themselves into this seemingly opaque sequence in which everyone involved seems to have done things that are hard to understand.\u003c/p>\n\u003cp>Perhaps most perplexing, though, are some of Edelman’s interviews with friends and former friends of Simpson’s, like Mike Gilbert, the ex-agent who now claims Simpson acknowledged guilt to him. Gilbert also seems to have been one of the people Simpson suspected of stealing from him, which led to that bizarre sports-memorabilia incident that put Simpson back in jail in 2008, convicted of kidnapping and armed robbery. One telling moment: the point at which Gilbert says he concluded Simpson was guilty was well before Ron Goldman’s family obtained a wrongful death judgment, but says he still helped haul valuables out of the house to hide them from becoming seized assets. Why? Why would Gilbert help a man he tearfully says he’d come to believe had slit the throats of two innocent people? Why help that man hide his football stuff so that the family of the man you think he killed couldn’t have even the satisfaction of collecting on their judgment?\u003c/p>\n\u003cp>Perhaps to understand, you have to see the remarkable sequence in which radio host Wendy Williams starts off not even being willing to say it’s good to have a post-acquittal Simpson on her show and then ends up applauding him, accepting a hug and kiss from him, and admitting she likes him by the time he’s through with her. Charisma is powerful and dangerous and almost literally intoxicating. It’s cheap to gripe about celebrity as if it’s a created, inorganic pollutant when celebrity, in many cases, while it’s goosed by money, is rooted in the weird gravity of personality. And everyone who’s dealt with him seemingly agrees that O.J. Simpson had, and perhaps has, that personality. (Even Marcia Clark recounts running into him years later with a strange, almost warm chuckle.)\u003c/p>\n\u003cp>It is only in that last chapter, when he decamps to Florida and starts making goofy, low-rent videos, that he begins to unravel in earnest. And, maybe not coincidentally, it’s after his image collapses that he’s locked up. Not for murder, but for being dumb enough to try his hand at armed robbery with a bunch of loosely affiliated accomplices while surveillance cameras are running.\u003c/p>\n\u003cp>Documentary film is analogous to painting on a canvas, perhaps, but also to sculpting from marble. It is a thousand meaningful sacrifices of perfectly good material. While Edelman doesn’t have Simpson on camera, or Chris Darden, or some of the other folks you’d want to hear from, he has members of the defense team, Ron Goldman’s dad, Nicole Brown’s sister, Mark Fuhrman, Marcia Clark, Gil Garcetti, and all kinds of journalists and commentators and scholars. From all these people, and from the barrels of archival footage he seems to have examined, he’s pulled the details that, when assembled, avoid the feeling of manipulation that comes from so many polemical documentaries while maintaining the feeling great journalism gives you that you are, against perhaps your own expectations, learning new things about events you thought you’d memorized to the point of exhaustion.\u003c/p>\n\u003cp>As a work of filmmaking, \u003cem>O.J.: Made In America \u003c/em>is distinguished by its good judgment. In particular, rather than cover every jot and tittle of the highly theatrical televised trial, it places that trial’s important moments in the context of the pressures that created them and the pressures they, in turn, created. Darden’s complicated role comes into sharper focus as a black juror explains how insulting she found it when he suddenly showed up, as if she wouldn’t notice they’d added a black lawyer for her benefit. Clark’s revulsion at being stuck with Fuhrman as a witness builds to her admission that, essentially, she was glad to feel confident he \u003cem>couldn’t \u003c/em>have planted the evidence, because she had no such confidence that he \u003cem>wouldn’t \u003c/em>have planted the evidence.\u003c/p>\n\u003cfigure id=\"attachment_11665312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg\" alt=\"California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson's Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson’s Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles. \u003ccite>(Photo: Vince Bucci/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are those who receive any attention to this story as necessarily sensational. The word “sensational,” in its “scandalous” meaning, is sometimes used against entire sets of facts, as if a real thing that happens in the real world can be too “sensational” to be spoken of, simply because it’s shocking or, frankly, fascinating in the wrong way. The story of O.J. Simpson certainly is shocking. But Edelman does not intend the momentary, hushed pleasures of a lurid crime tale. He is making an argument that inside the story of how O.J. Simpson was acquitted — or maybe enveloping it — is the story of how police departments lose the trust of their communities. He is making an argument that inside and outside the murders is a story of what can happen when powerful men aren’t punished for violence against their wives. He is making an argument about the effects of one person’s charisma on other people’s consciences. He is making an argument about the way money can be used to fight prejudice or create it — how with injustice, money can be the disease or the cure. And he is making an argument, ultimately, that although an attraction to spectacle may have given this story its initial flash, its lasting power comes from real things that people care about, with good reason.\u003c/p>\n\u003cp>Over Memorial Day weekend, \u003cem>The New York Times \u003c/em>studied violence just in Chicago, and found six gun deaths in three days. Murder is, if not routine, certainly not in and of itself an act that would resonate across decades. A murder trial that is carried gavel-to-gavel doesn’t get that treatment simply because it is the loss of two lives at someone else’s hands. This one had a famous defendant people had spent 25 years rooting for in football, watching in movies, watching on television. His decision to defy the authority of a widely loathed police department by driving down the freeway when he was supposed to turn himself in seems to have endeared him particularly to those who felt that the police acted outside that authority every day anyway, and at least somebody was in a position to tell them he’d pull over when he was good and ready — and they seemed powerless or even afraid to say no to him.\u003c/p>\n\u003cp>In this telling, there were prosecution missteps, there was a key police witness in whose credibility even the prosecutor lost all confidence, there were flaws in the evidence collection that were exploited by a defense team with bottomless resources and considerable talent. But it was always going to be both a terrible case from which to generalize about the justice system and a great case to use as a cultural inflection point.\u003c/p>\n\u003cp>More than 20 years later, the Simpson trial — the Simpson story — is a vexing, interlocking tower of what-ifs that get bigger and broader as you go: What if they’d brought Darden on earlier, or not at all? What if Darden didn’t let F. Lee Bailey goad him into having Simpson try on the gloves? What if the glove at Rockingham had been collected by a police officer without a history of using racial slurs? What if LAPD officers hadn’t beaten Rodney King? What if they had been convicted? What if there were no riots? What if there were no racism? What if we lived in a completely different society with a completely different history than the one we have?\u003c/p>\n\u003cfigure id=\"attachment_11665313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg\" alt=\"O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11665313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1920x1322.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-960x661.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6.jpg 1964w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr. \u003ccite>(Photo: Myung J. Chun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, not for nothing, assuming you believe the police reports and his no-contest plea and the Polaroids of Nicole’s bruises she hid in a safe-deposit box with her will: What if Simpson had gone to jail earlier for beating his wife? What if that could have actually saved her life and Ron Goldman’s?\u003c/p>\n\u003cp>And that’s not to even mention some of the what-ifs that stand on that boundary line between “if only” and “thank goodness”: What if we’d had the Internet? What if we’d had Twitter? In light of Roy Firestone’s obsequious archival ESPN interview with Simpson blowing off the domestic violence issue, what if we’d had Deadspin? (Nothing — \u003cem>nothing —\u003c/em> will make you understand Deadspin’s upside better than that clip, by the way, in which Firestone tells Simpson, post-domestic-violence-conviction, that they’re there to discuss “how things can get distorted to such a point that you are portrayed as the bad guy.”) And, given that TMZ \u003ca href=\"http://www.thesmokinggun.com/documents/crime/gossip-site-paid-165000-oj-tape\">reportedly bought and publicized audiotapes of the memorabilia robbery in 2008\u003c/a>, what if we’d had TMZ back in 1989? Would everything be different now? Better? Worse?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ezra Edelman’s \u003cem>O.J.: Made In America \u003c/em>is a film of great patience and discipline. It is bracing in its wisdom and unforgettable in its details. It’s the story of where we were in the summer of 1994, in so many of the ways that still matter the most now. And its curiosity isn’t in examining how O.J. Simpson is explained by the fact that he was made in America, it’s in examining how America is explained by having made O.J. Simpson. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27O.J.%3A+Made+In+America%27+Is+About+America%2C+Not+O.J.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s odd to view the O.J. Simpson trial in a renewed cultural spotlight today, 22 years after the murders and 21 years after the verdicts, almost in defiance of our tendency to observe round-number anniversaries. But between FX’s \u003cem>The People vs. O.J. Simpson: American Crime Story \u003c/em>earlier this year and now Ezra Edelman’s 7 1/2-hour documentary \u003cem>O.J.: Made In America\u003c/em>, we are not observing a milestone, but attempting an almost convulsive reckoning with every open or tenuously bound wound the case touched and still touches: racism and sexism, certainly. Class distinctions, especially where they intersect with race. Domestic violence and police brutality as two of our most stubborn examples of a sometimes fatally broken criminal justice system. Extreme wealth and extraordinary celebrity as weapons of distortion and defense.\u003c/p>\n\u003cp>Through sheer repetition, so many words are shibboleths if you were old enough to watch the news in the ’90s: Nicole, Ron, O.J., A.C., Clark, Darden, Cochran, Fuhrman, Ito, Kato, Rockingham, Bundy. Other elements, perhaps half-forgotten, tumble out when the documentary jogs your memory: Paula Barbieri, Bruno Magli, that \u003cem>Saturday Night Live \u003c/em>sketch where all the defense attorneys are dressed as increasingly outlandish “African” caricatures. But Edelman’s eye for detail is so sharp that the film contains, along with its revelations, a contextualizing wisdom that gives it the feel of sociological exploratory surgery: painful and awful, but fascinating and ultimately in service of a much clearer picture.\u003c/p>\n\u003cp>In five parts — each is about 90 minutes without commercials and will run two hours during airings beginning on June 11 on ABC and continuing on ESPN beginning June 14 — the film shows Edelman’s seriousness simply in the scope of its attention. It spends a full chapter on Simpson’s college football career, his Heisman trophy, his rise to the pros, his transition into sportscasting and acting, and, crucially, his entrée into a heavily white circle of friends and business associates. (Says one of Simpson bringing Sidney Poitier to play golf at the Arcola Country Club, where Simpson was the first black member, “Even the bigots thought that was terrific.”)\u003c/p>\n\u003cp>The second chapter is about the two violent histories that would collide so explosively at his trial: his history of domestic violence against Nicole and the history of violence by the police (and sometimes by others) against black people in Los Angeles — particularly, but not exclusively, black men. The third and fourth chapters concern the murders, the investigation, the Bronco chase, and most of the trial. The fifth largely concerns itself with what happened after Simpson was acquitted, only to eventually go to prison over a plot to gather some guys (who brought at least one gun) and go take back sports memorabilia he thought had been stolen from him.\u003c/p>\n\u003cfigure id=\"attachment_11665310\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg\" alt=\"O.J. Simpson at the Buffalo Bills' Rich Stadium press conference circa 1975\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/oj_pic7441m-edit_slide-f25f7c91e5cd3a49ae5e179f9f38e64c72951d75-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson at the Buffalo Bills’ Rich Stadium press conference circa 1975. \u003ccite>(Photo: Mickey Osterreicher via ESPN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Edelman draws, as only a man who has nearly eight hours to speak to you can, the connections between the story of O.J. Simpson and the history that was all around him — that’s what \u003cem>Made In America \u003c/em>means. There are strands connecting his case to Rodney King, obviously, but also to other cases of violence against black people in Los Angeles, not to mention the migration of black people into LA in the ’40s and ’50s to begin with. Edelman places Simpson’s collegiate celebrity in the context of rising activism among black athletes in the late 1960s — activism Simpson wanted no part of, according to Dr. Harry Edwards, the sociologist who quotes him as offering the now-famous words, “I’m not black, I’m O.J.” Those weren’t just playful words: Edwards says Simpson offered them specifically as his reason for not getting involved in civil rights activism. Everywhere Edelman turns in his examination of Simpson’s life, he finds something that resonated in the story that came to define that life even more than football. And it’s safe to say O.J. Simpson never expected to be defined by anything more than by football.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edelman’s direction is confident throughout the project (which also got a theatrical release to qualify it for Oscars), and his expansive focus is complemented by a structural rigor that prevents pure sprawl. Other characters emerge with stories of their own. There’s Ron Shipp, a friend of Simpson’s who chose to testify against him and was subjected to a cross-examination he says was so brutal it convinced others not to do the same. There are civil rights activists who came to different conclusions about whether this was really properly viewed as a civil rights case. There’s Barry Scheck, the defense’s DNA expert, who strains to make understood his belief that what he believes as to guilt or innocence (or evidence-planting) is simply not the right question to ask a defense lawyer. There’s a juror who says the group barely deliberated because they’d simply been locked up too long, and another who suggests the prosecution could have won her vote if they had “come correct.” Every huge story is a patchwork of smaller stories, and what an excellent documentarian can do is both tell those stories and explain how they assembled themselves into this seemingly opaque sequence in which everyone involved seems to have done things that are hard to understand.\u003c/p>\n\u003cp>Perhaps most perplexing, though, are some of Edelman’s interviews with friends and former friends of Simpson’s, like Mike Gilbert, the ex-agent who now claims Simpson acknowledged guilt to him. Gilbert also seems to have been one of the people Simpson suspected of stealing from him, which led to that bizarre sports-memorabilia incident that put Simpson back in jail in 2008, convicted of kidnapping and armed robbery. One telling moment: the point at which Gilbert says he concluded Simpson was guilty was well before Ron Goldman’s family obtained a wrongful death judgment, but says he still helped haul valuables out of the house to hide them from becoming seized assets. Why? Why would Gilbert help a man he tearfully says he’d come to believe had slit the throats of two innocent people? Why help that man hide his football stuff so that the family of the man you think he killed couldn’t have even the satisfaction of collecting on their judgment?\u003c/p>\n\u003cp>Perhaps to understand, you have to see the remarkable sequence in which radio host Wendy Williams starts off not even being willing to say it’s good to have a post-acquittal Simpson on her show and then ends up applauding him, accepting a hug and kiss from him, and admitting she likes him by the time he’s through with her. Charisma is powerful and dangerous and almost literally intoxicating. It’s cheap to gripe about celebrity as if it’s a created, inorganic pollutant when celebrity, in many cases, while it’s goosed by money, is rooted in the weird gravity of personality. And everyone who’s dealt with him seemingly agrees that O.J. Simpson had, and perhaps has, that personality. (Even Marcia Clark recounts running into him years later with a strange, almost warm chuckle.)\u003c/p>\n\u003cp>It is only in that last chapter, when he decamps to Florida and starts making goofy, low-rent videos, that he begins to unravel in earnest. And, maybe not coincidentally, it’s after his image collapses that he’s locked up. Not for murder, but for being dumb enough to try his hand at armed robbery with a bunch of loosely affiliated accomplices while surveillance cameras are running.\u003c/p>\n\u003cp>Documentary film is analogous to painting on a canvas, perhaps, but also to sculpting from marble. It is a thousand meaningful sacrifices of perfectly good material. While Edelman doesn’t have Simpson on camera, or Chris Darden, or some of the other folks you’d want to hear from, he has members of the defense team, Ron Goldman’s dad, Nicole Brown’s sister, Mark Fuhrman, Marcia Clark, Gil Garcetti, and all kinds of journalists and commentators and scholars. From all these people, and from the barrels of archival footage he seems to have examined, he’s pulled the details that, when assembled, avoid the feeling of manipulation that comes from so many polemical documentaries while maintaining the feeling great journalism gives you that you are, against perhaps your own expectations, learning new things about events you thought you’d memorized to the point of exhaustion.\u003c/p>\n\u003cp>As a work of filmmaking, \u003cem>O.J.: Made In America \u003c/em>is distinguished by its good judgment. In particular, rather than cover every jot and tittle of the highly theatrical televised trial, it places that trial’s important moments in the context of the pressures that created them and the pressures they, in turn, created. Darden’s complicated role comes into sharper focus as a black juror explains how insulting she found it when he suddenly showed up, as if she wouldn’t notice they’d added a black lawyer for her benefit. Clark’s revulsion at being stuck with Fuhrman as a witness builds to her admission that, essentially, she was glad to feel confident he \u003cem>couldn’t \u003c/em>have planted the evidence, because she had no such confidence that he \u003cem>wouldn’t \u003c/em>have planted the evidence.\u003c/p>\n\u003cfigure id=\"attachment_11665312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg\" alt=\"California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson's Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11665312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/gettyimages-51974027_custom-09ba8b0cf2d712e454a349c79b630b2dfd850d85-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">California Department Of Justice criminalist Renee Montgomery points to blood spots found on the leather glove at O. J. Simpson’s Rockingham estate during redirect examination in the O.J. Simpson double-murder criminal trial on May 24, 1995, in Los Angeles. \u003ccite>(Photo: Vince Bucci/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are those who receive any attention to this story as necessarily sensational. The word “sensational,” in its “scandalous” meaning, is sometimes used against entire sets of facts, as if a real thing that happens in the real world can be too “sensational” to be spoken of, simply because it’s shocking or, frankly, fascinating in the wrong way. The story of O.J. Simpson certainly is shocking. But Edelman does not intend the momentary, hushed pleasures of a lurid crime tale. He is making an argument that inside the story of how O.J. Simpson was acquitted — or maybe enveloping it — is the story of how police departments lose the trust of their communities. He is making an argument that inside and outside the murders is a story of what can happen when powerful men aren’t punished for violence against their wives. He is making an argument about the effects of one person’s charisma on other people’s consciences. He is making an argument about the way money can be used to fight prejudice or create it — how with injustice, money can be the disease or the cure. And he is making an argument, ultimately, that although an attraction to spectacle may have given this story its initial flash, its lasting power comes from real things that people care about, with good reason.\u003c/p>\n\u003cp>Over Memorial Day weekend, \u003cem>The New York Times \u003c/em>studied violence just in Chicago, and found six gun deaths in three days. Murder is, if not routine, certainly not in and of itself an act that would resonate across decades. A murder trial that is carried gavel-to-gavel doesn’t get that treatment simply because it is the loss of two lives at someone else’s hands. This one had a famous defendant people had spent 25 years rooting for in football, watching in movies, watching on television. His decision to defy the authority of a widely loathed police department by driving down the freeway when he was supposed to turn himself in seems to have endeared him particularly to those who felt that the police acted outside that authority every day anyway, and at least somebody was in a position to tell them he’d pull over when he was good and ready — and they seemed powerless or even afraid to say no to him.\u003c/p>\n\u003cp>In this telling, there were prosecution missteps, there was a key police witness in whose credibility even the prosecutor lost all confidence, there were flaws in the evidence collection that were exploited by a defense team with bottomless resources and considerable talent. But it was always going to be both a terrible case from which to generalize about the justice system and a great case to use as a cultural inflection point.\u003c/p>\n\u003cp>More than 20 years later, the Simpson trial — the Simpson story — is a vexing, interlocking tower of what-ifs that get bigger and broader as you go: What if they’d brought Darden on earlier, or not at all? What if Darden didn’t let F. Lee Bailey goad him into having Simpson try on the gloves? What if the glove at Rockingham had been collected by a police officer without a history of using racial slurs? What if LAPD officers hadn’t beaten Rodney King? What if they had been convicted? What if there were no riots? What if there were no racism? What if we lived in a completely different society with a completely different history than the one we have?\u003c/p>\n\u003cfigure id=\"attachment_11665313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg\" alt=\"O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11665313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1180x812.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-1920x1322.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6-960x661.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/ap_95100302198_custom-30a0a15fe05e97c90e6451878bf3d6d33f4786c6.jpg 1964w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">O.J. Simpson reacts as he is found not guilty of murdering his ex-wife, Nicole Brown Simpson, and her friend Ron Goldman at the Criminal Courts Building in Los Angeles on Oct. 3, 1995. At left is defense lawyer F. Lee Bailey and at right, defense attorney Johnnie Cochran Jr. \u003ccite>(Photo: Myung J. Chun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, not for nothing, assuming you believe the police reports and his no-contest plea and the Polaroids of Nicole’s bruises she hid in a safe-deposit box with her will: What if Simpson had gone to jail earlier for beating his wife? What if that could have actually saved her life and Ron Goldman’s?\u003c/p>\n\u003cp>And that’s not to even mention some of the what-ifs that stand on that boundary line between “if only” and “thank goodness”: What if we’d had the Internet? What if we’d had Twitter? In light of Roy Firestone’s obsequious archival ESPN interview with Simpson blowing off the domestic violence issue, what if we’d had Deadspin? (Nothing — \u003cem>nothing —\u003c/em> will make you understand Deadspin’s upside better than that clip, by the way, in which Firestone tells Simpson, post-domestic-violence-conviction, that they’re there to discuss “how things can get distorted to such a point that you are portrayed as the bad guy.”) And, given that TMZ \u003ca href=\"http://www.thesmokinggun.com/documents/crime/gossip-site-paid-165000-oj-tape\">reportedly bought and publicized audiotapes of the memorabilia robbery in 2008\u003c/a>, what if we’d had TMZ back in 1989? Would everything be different now? Better? Worse?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ezra Edelman’s \u003cem>O.J.: Made In America \u003c/em>is a film of great patience and discipline. It is bracing in its wisdom and unforgettable in its details. It’s the story of where we were in the summer of 1994, in so many of the ways that still matter the most now. And its curiosity isn’t in examining how O.J. Simpson is explained by the fact that he was made in America, it’s in examining how America is explained by having made O.J. Simpson. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27O.J.%3A+Made+In+America%27+Is+About+America%2C+Not+O.J.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "artist-who-painted-trump-with-micro-penis-stars-in-funny-or-die-video",
"title": "Artist Who Painted \"Trump with Micro Penis\" Stars in Funny Or Die Video",
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"content": "\u003cp>Illma Gore, the San Francisco-raised artist who caused a \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">stir earlier this year with her portrait\u003c/a> of Donald Trump with a “micro penis,” is featured in a video on the comedy website Funny Or Die released Wednesday.\u003c/p>\n\u003cp>In the video, titled “How to Draw Trump’s Penis,” Gore spoofs the creation of her infamous painting of the presumptive Republican presidential nominee that resulted in a firestorm of controversy after she posted it to Facebook in early February. Though the painting was shared over 260,000 times in less than a month, it also led to Gore being banned from Facebook and eBay, as well as daily death threats from Trump supporters. \u003c/p>\n\u003cp>The backlash reached its peak near the end of April of this year when \u003ca href=\"http://www.theguardian.com/us-news/2016/may/07/donald-trump-penis-painting-ilma-gore\" target=\"_blank\" rel=\"noopener\">Gore says she was randomly punched in the face\u003c/a> by a man who identified himself as a Trump supporter before driving off. \u003c/p>\n\u003cp>Though the attack was far from funny, Gore decided to come back at her critics this week with her hilarious video, which you can watch below (\u003cb>WARNING:\u003c/b> Video contains images not appropriate for children): \u003c/p>\n\u003cdiv style=\"text-align:left;font-size:x-small;margin-top:0;width:640px\">\u003c/div>\n\u003cp>Though Gore and her Trump portrait have received a lot of attention, he’s not the only presumptive presidential nominee to be portrayed naked in painting: artist \u003ca href=\"http://sarah-sole.com/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Cole\u003c/a> has drawn attention for her \u003ca href=\"http://www.huffingtonpost.com/entry/sarah-sole-hillary-clinton-paintings_us_564130dfe4b0411d30724467\" target=\"_blank\" rel=\"noopener\">portrayal of Hillary Clinton naked\u003c/a>, \u003ca href=\"http://sarah-sole.com/images/Paintings/MyPrivateHillary_AcrylicOnCanvas_72x48_2015_Sarah_Sole.jpg\" target=\"_blank\" rel=\"noopener\">holding a wine bottle\u003c/a>. But in Cole’s case, she actually considers herself a fan of Clinton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Illma Gore, the San Francisco-raised artist who caused a \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">stir earlier this year with her portrait\u003c/a> of Donald Trump with a “micro penis,” is featured in a video on the comedy website Funny Or Die released Wednesday.\u003c/p>\n\u003cp>In the video, titled “How to Draw Trump’s Penis,” Gore spoofs the creation of her infamous painting of the presumptive Republican presidential nominee that resulted in a firestorm of controversy after she posted it to Facebook in early February. Though the painting was shared over 260,000 times in less than a month, it also led to Gore being banned from Facebook and eBay, as well as daily death threats from Trump supporters. \u003c/p>\n\u003cp>The backlash reached its peak near the end of April of this year when \u003ca href=\"http://www.theguardian.com/us-news/2016/may/07/donald-trump-penis-painting-ilma-gore\" target=\"_blank\" rel=\"noopener\">Gore says she was randomly punched in the face\u003c/a> by a man who identified himself as a Trump supporter before driving off. \u003c/p>\n\u003cp>Though the attack was far from funny, Gore decided to come back at her critics this week with her hilarious video, which you can watch below (\u003cb>WARNING:\u003c/b> Video contains images not appropriate for children): \u003c/p>\n\u003cdiv style=\"text-align:left;font-size:x-small;margin-top:0;width:640px\">\u003c/div>\n\u003cp>Though Gore and her Trump portrait have received a lot of attention, he’s not the only presumptive presidential nominee to be portrayed naked in painting: artist \u003ca href=\"http://sarah-sole.com/index.php\" target=\"_blank\" rel=\"noopener\">Sarah Cole\u003c/a> has drawn attention for her \u003ca href=\"http://www.huffingtonpost.com/entry/sarah-sole-hillary-clinton-paintings_us_564130dfe4b0411d30724467\" target=\"_blank\" rel=\"noopener\">portrayal of Hillary Clinton naked\u003c/a>, \u003ca href=\"http://sarah-sole.com/images/Paintings/MyPrivateHillary_AcrylicOnCanvas_72x48_2015_Sarah_Sole.jpg\" target=\"_blank\" rel=\"noopener\">holding a wine bottle\u003c/a>. But in Cole’s case, she actually considers herself a fan of Clinton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When 27-year-old artist Antonio Ramos was shot and killed last fall while painting a mural under a highway overpass in West Oakland, the story of his death captured national and international headlines.\u003c/p>\n\u003cp>But very little was reported about Ramos, the self-taught artist whose passion for social justice and illustrating the stories of indigenous people was recognized by those who knew him best. (Ramos himself had roots in Mexico and in Puerto Rico’s Taíno tribe.)\u003c/p>\n\u003cp>[contextly_sidebar id=”dXpFdXAocPZRDSePgYFgCUcoogxzPXfm”]\u003c/p>\n\u003cp>I walked through the doors of \u003ca href=\"http://www.ahc-oakland.org\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection \u003c/a>(AHC) one week after the shooting. AHC has worked in West Oakland for more than 25 years and leads the \u003ca href=\"http://www.ahc-oakland.org/oakland-mural-project\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, an effort to transform six blighted underpasses into large-scale murals designed by local youth.\u003cb> \u003c/b>Ramos was helping paint one of them when he was gunned down.\u003c/p>\n\u003cp>AHC co-founder Aeeshah Clottey greeted me with warm eyes, open arms, but also had words that stung me for their truth. “Where have you been? We’ve been trying to get media coverage of our efforts for decades. Now with blood in the streets, you’re here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then she invited me to sit down.\u003c/p>\n\u003cp>I’ve called Oakland home for most of my adult life, and as a documentary filmmaker who has made films about anti-violence efforts in the Bay Area and as far away as Russia, words like these are important to hear. They cut to the heart of what many people at AHC and throughout Oakland are still feeling about this tragedy nine months later.\u003c/p>\n\u003cp>Within hours of the shooting, reports of yet another killing in Oakland dominated the news cycle. That Ramos died working on a mural about peace and non-violence was not lost on the press. Speculation about the circumstances leading up to the murder abounded. Did the subject matter in the mural provoke the violence? Was the crime an attempted robbery? Next to none of these explanations resonated with the artists working with Ramos that fateful morning, when an armed man took their friend’s life. The truth of their feelings were eclipsed by reports of his violent death and tired narratives of crime-ridden Oakland.\u003c/p>\n\u003cp>“In a situation that was just so senseless, there were news reports connecting what happened to Antonio with how gentrification isn’t making Oakland better,” AHC Executive Director Amana Harris told me. “As if gentrification is what it takes to make a city better. That’s the kind of narrow-mindedness we’re fighting against. We have to be looking at core issues for our people, ways to build better resiliency with our community members.”\u003c/p>\n\u003cp>For Harris, 44, art like the murals project is key to building healthy, resilient communities. The Oakland native has been bringing art classes to the city’s under-resourced schools for decades through AHC’s ArtEsteem program and Self as Superhero curriculum, which encourages students to re-envision themselves as superheroes improving their communities. West Oakland Middle School Students inspired the images Ramos was helping to create when he died.\u003c/p>\n\u003cp>Ramos’ name is back in the news again with \u003ca href=\"http://www.eastbaytimes.com/breaking-news/ci_29983979/oakland-defendant-enters-plea-muralist-slaying\" target=\"_blank\" rel=\"noopener\">developments in the criminal case\u003c/a> and with a lawsuit filed by his family against the U.S. Immigration and Customs Enforcement, owners of the stolen firearm reportedly used in the shooting. Meanwhile, AHC has started up work on a fourth Oakland Super Heroes Mural with students at Hoover Elementary. It will be painted across the street from the wall where Ramos was killed. But that work has disappeared from the public’s eye.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I began to capture the completion of the mural last fall in the aftermath of Ramos’ death, I didn’t know where my storytelling would lead. But I knew I wanted to tell a different story than I was seeing displayed in the media, one that better represented Ramos, Oakland, and the role art plays in empowering youth and making our communities stronger. I hope this video offers a glimpse of the creativity and courage, grace and forgiveness that is reflected not only in the life of Antonio Ramos, but in the lives of the artists, friends and family members who carry his spirit forward.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When 27-year-old artist Antonio Ramos was shot and killed last fall while painting a mural under a highway overpass in West Oakland, the story of his death captured national and international headlines.\u003c/p>\n\u003cp>But very little was reported about Ramos, the self-taught artist whose passion for social justice and illustrating the stories of indigenous people was recognized by those who knew him best. (Ramos himself had roots in Mexico and in Puerto Rico’s Taíno tribe.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I walked through the doors of \u003ca href=\"http://www.ahc-oakland.org\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection \u003c/a>(AHC) one week after the shooting. AHC has worked in West Oakland for more than 25 years and leads the \u003ca href=\"http://www.ahc-oakland.org/oakland-mural-project\" target=\"_blank\" rel=\"noopener\">Oakland Super Heroes Mural Project\u003c/a>, an effort to transform six blighted underpasses into large-scale murals designed by local youth.\u003cb> \u003c/b>Ramos was helping paint one of them when he was gunned down.\u003c/p>\n\u003cp>AHC co-founder Aeeshah Clottey greeted me with warm eyes, open arms, but also had words that stung me for their truth. “Where have you been? We’ve been trying to get media coverage of our efforts for decades. Now with blood in the streets, you’re here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then she invited me to sit down.\u003c/p>\n\u003cp>I’ve called Oakland home for most of my adult life, and as a documentary filmmaker who has made films about anti-violence efforts in the Bay Area and as far away as Russia, words like these are important to hear. They cut to the heart of what many people at AHC and throughout Oakland are still feeling about this tragedy nine months later.\u003c/p>\n\u003cp>Within hours of the shooting, reports of yet another killing in Oakland dominated the news cycle. That Ramos died working on a mural about peace and non-violence was not lost on the press. Speculation about the circumstances leading up to the murder abounded. Did the subject matter in the mural provoke the violence? Was the crime an attempted robbery? Next to none of these explanations resonated with the artists working with Ramos that fateful morning, when an armed man took their friend’s life. The truth of their feelings were eclipsed by reports of his violent death and tired narratives of crime-ridden Oakland.\u003c/p>\n\u003cp>“In a situation that was just so senseless, there were news reports connecting what happened to Antonio with how gentrification isn’t making Oakland better,” AHC Executive Director Amana Harris told me. “As if gentrification is what it takes to make a city better. That’s the kind of narrow-mindedness we’re fighting against. We have to be looking at core issues for our people, ways to build better resiliency with our community members.”\u003c/p>\n\u003cp>For Harris, 44, art like the murals project is key to building healthy, resilient communities. The Oakland native has been bringing art classes to the city’s under-resourced schools for decades through AHC’s ArtEsteem program and Self as Superhero curriculum, which encourages students to re-envision themselves as superheroes improving their communities. West Oakland Middle School Students inspired the images Ramos was helping to create when he died.\u003c/p>\n\u003cp>Ramos’ name is back in the news again with \u003ca href=\"http://www.eastbaytimes.com/breaking-news/ci_29983979/oakland-defendant-enters-plea-muralist-slaying\" target=\"_blank\" rel=\"noopener\">developments in the criminal case\u003c/a> and with a lawsuit filed by his family against the U.S. Immigration and Customs Enforcement, owners of the stolen firearm reportedly used in the shooting. Meanwhile, AHC has started up work on a fourth Oakland Super Heroes Mural with students at Hoover Elementary. It will be painted across the street from the wall where Ramos was killed. But that work has disappeared from the public’s eye.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When I began to capture the completion of the mural last fall in the aftermath of Ramos’ death, I didn’t know where my storytelling would lead. But I knew I wanted to tell a different story than I was seeing displayed in the media, one that better represented Ramos, Oakland, and the role art plays in empowering youth and making our communities stronger. I hope this video offers a glimpse of the creativity and courage, grace and forgiveness that is reflected not only in the life of Antonio Ramos, but in the lives of the artists, friends and family members who carry his spirit forward.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Social media lynch mob or do-gooders done, well, good?\u003c/p>\n\u003cp>That’s for you to decide as we consider the week just had by 20-year-old drummer Leslie Rasmussen of the indie rock band Good English.\u003c/p>\n\u003cp>Rasmussen, who lives in suburban Dayton, Ohio, is a friend since childhood of ex-Stanford University swimmer Brock Turner who was convicted last week of felony sexual assault and attempted rape. The six-month jail sentence of the Olympic hopeful, who agreed to leave the prestigious school rather than face possible expulsion, unleashed a fury.\u003c/p>\n\u003cp>Santa Clara County Judge Aaron Persky cited Turner’s clean criminal record and the impact the conviction will have on his life. The outrage has lasted for days.\u003c/p>\n\u003cp>In the aftermath, a “character statement” Rasmussen wrote in support of 20-year-old Turner was leaked. In it, she blamed campus drinking culture and political correctness for Turner’s inebriated life choices after two bystanders caught him in the act of assaulting a drunken, unconscious woman near some garbage bins.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Said lynch mobbers or do-gooders then took to Twitter, Facebook and other social streams to demand Rasmussen’s band, which includes her two sisters, be dumped from at least four gigs that included some in Brooklyn clubs hosting a small music festival called the Northside Festival.\u003c/p>\n\u003cp>In the aftermath of the aftermath, the music-focused website BrooklynVegan.com reports Rasmussen released a long statement Tuesday explaining the one submitted into the court record in California two months ago, ahead of Turner’s sentencing.\u003c/p>\n\u003cp>While Rasmussen’s home phone rang busy Wednesday, the statement posted by Brooklyn Vegan speaks of her sympathy for the victim in Turner’s case.\u003c/p>\n\u003cp>“Unfortunately, due to the overzealous nature of social media and the lack of confidence and privacy in which my letter to the judge was held, I am now thrust into the public eye to defend my position on this matter in the court of public opinion,” the statement said.\u003c/p>\n\u003cp>It continued: “Now, my choices to defer college to write and play music, to finally introduce 10 years of hard work to a national audience while working consistently and intentionally on my own personal and professional integrity, has led to an uproar of judgment and hatred unleashed on me, my band and my family.”\u003c/p>\n\u003cp>It appears Rasmussen is crying victim. That doesn’t matter to David Kyrejko, co-founder of Industry City Distillery, one of the Brooklyn venues that canceled Good English as soon as the world figured out Rasmussen was in the band and playing there.\u003c/p>\n\u003cp>Industry City and other venues, along with the promoters of Northside Festival and the festival itself, have been dealing with outraged New Yorkers over Rasmussen’s remarks. None immediately returned calls and emails seeking additional comment beyond what they have posted online.\u003c/p>\n\u003cp>Industry City was to host a number of artists, not just Good English, on June 11.\u003c/p>\n\u003cp>“Then this whole situation started to unfold and we immediately contacted the producers of the event and demanded that they be removed from the lineup,” Kyrejko said Wednesday. “We found out through fans. We were made aware of it Tuesday, almost instantaneously. Our response was that Good English was removed from the roster.”\u003c/p>\n\u003cp>Why? And what of Rasmussen’s right to free expression?\u003c/p>\n\u003cp>“It’s pretty simple in my opinion,” Kyrejko added. “The support of rape culture is not tolerated. That’s why we removed them from our roster. I think she can do whatever she wants, but if you’re going to preach that, you’re not welcome in our venue. The show will go on. It’s going to be a great show.”\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>Social media lynch mob or do-gooders done, well, good?\u003c/p>\n\u003cp>That’s for you to decide as we consider the week just had by 20-year-old drummer Leslie Rasmussen of the indie rock band Good English.\u003c/p>\n\u003cp>Rasmussen, who lives in suburban Dayton, Ohio, is a friend since childhood of ex-Stanford University swimmer Brock Turner who was convicted last week of felony sexual assault and attempted rape. The six-month jail sentence of the Olympic hopeful, who agreed to leave the prestigious school rather than face possible expulsion, unleashed a fury.\u003c/p>\n\u003cp>Santa Clara County Judge Aaron Persky cited Turner’s clean criminal record and the impact the conviction will have on his life. The outrage has lasted for days.\u003c/p>\n\u003cp>In the aftermath, a “character statement” Rasmussen wrote in support of 20-year-old Turner was leaked. In it, she blamed campus drinking culture and political correctness for Turner’s inebriated life choices after two bystanders caught him in the act of assaulting a drunken, unconscious woman near some garbage bins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Said lynch mobbers or do-gooders then took to Twitter, Facebook and other social streams to demand Rasmussen’s band, which includes her two sisters, be dumped from at least four gigs that included some in Brooklyn clubs hosting a small music festival called the Northside Festival.\u003c/p>\n\u003cp>In the aftermath of the aftermath, the music-focused website BrooklynVegan.com reports Rasmussen released a long statement Tuesday explaining the one submitted into the court record in California two months ago, ahead of Turner’s sentencing.\u003c/p>\n\u003cp>While Rasmussen’s home phone rang busy Wednesday, the statement posted by Brooklyn Vegan speaks of her sympathy for the victim in Turner’s case.\u003c/p>\n\u003cp>“Unfortunately, due to the overzealous nature of social media and the lack of confidence and privacy in which my letter to the judge was held, I am now thrust into the public eye to defend my position on this matter in the court of public opinion,” the statement said.\u003c/p>\n\u003cp>It continued: “Now, my choices to defer college to write and play music, to finally introduce 10 years of hard work to a national audience while working consistently and intentionally on my own personal and professional integrity, has led to an uproar of judgment and hatred unleashed on me, my band and my family.”\u003c/p>\n\u003cp>It appears Rasmussen is crying victim. That doesn’t matter to David Kyrejko, co-founder of Industry City Distillery, one of the Brooklyn venues that canceled Good English as soon as the world figured out Rasmussen was in the band and playing there.\u003c/p>\n\u003cp>Industry City and other venues, along with the promoters of Northside Festival and the festival itself, have been dealing with outraged New Yorkers over Rasmussen’s remarks. None immediately returned calls and emails seeking additional comment beyond what they have posted online.\u003c/p>\n\u003cp>Industry City was to host a number of artists, not just Good English, on June 11.\u003c/p>\n\u003cp>“Then this whole situation started to unfold and we immediately contacted the producers of the event and demanded that they be removed from the lineup,” Kyrejko said Wednesday. “We found out through fans. We were made aware of it Tuesday, almost instantaneously. Our response was that Good English was removed from the roster.”\u003c/p>\n\u003cp>Why? And what of Rasmussen’s right to free expression?\u003c/p>\n\u003cp>“It’s pretty simple in my opinion,” Kyrejko added. “The support of rape culture is not tolerated. That’s why we removed them from our roster. I think she can do whatever she wants, but if you’re going to preach that, you’re not welcome in our venue. The show will go on. It’s going to be a great show.”\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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"headTitle": "Bay Area Bites | KQED Food",
"content": "\u003cp>Where do you draw the line between inspiration and straight-up imitation when it comes to food?\u003c/p>\n\u003cp>A few years ago, we brought you the \u003ca href=\"http://www.npr.org/sections/thesalt/2013/04/15/177317449/modern-art-desserts-how-to-bake-a-mondrian-in-your-oven\" target=\"_blank\">story\u003c/a> of Caitlin Freeman, a pastry chef baking innovative, art-inspired cakes at the San Francisco Museum of Modern Art. Using modern art as her muse, Freeman translated what she saw in the museum into edible form at the SFMOMA's upstairs café.\u003c/p>\n\u003cfigure id=\"attachment_109974\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/sfmoma1.jpg\" alt=\"Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago.\" width=\"400\" height=\"601\" class=\"size-full wp-image-109974\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago. \u003ccite>(Clay McLachlan/Modern Art Desserts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her creations eventually filled a cookbook, \u003cem>Modern Art Desserts\u003c/em>, and her most well-known dish, a cake composed of small, primary-colored blocks delicately cemented together with chocolate icing, graced its cover. Inspired by the geometric art of Piet Mondrian, it brought both Freeman and the café fame – and inspired many a home cook to tackle this masterpiece at home.\u003c/p>\n\u003cp>The museum closed for renovations in 2013. When it re-opened last month, the upstairs café was under new management, with a new baking team – but the art-themed desserts for sale looked suspiciously familiar to Freeman. Call it a case of copycake.\u003c/p>\n\u003cp>Blue Bottle, the coffeehouse chain owned by Freeman's husband, James Freeman, used to run the SFMOMA's upstairs café, but it failed to win its bid to return after the renovations. Freeman was disappointed, but, as a lifelong art lover, she nonetheless felt compelled to take her infant daughter to check out the refurbished museum. She even stopped for a few moments to take in the scene at the new café, now run by a catering company that had previously operated the museum's downstairs café.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That's when three \"art-inspired\" desserts the café was serving caught her eye.\u003c/p>\n\u003cp>\"I saw the Ellsworth Kelly cake, and I was like, wait a second,\" she tells NPR. That cake, according to the menu, is inspired by Kelly's painting \u003cem>Gaza\u003c/em>, and features cream mousses and sponge cake. Another, called \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-warhol-trip-sfmoma-20160606-snap-htmlstory.html\" target=\"_blank\">Andy Warhol's Triple Elvis\u003c/a>, is peanut butter cream, honey and banana cake. Finally, the Oculus, a sculptural nod to the museum's architectural turret, is cream-filled sponge cake with chocolate mousse and a white chocolate disc. That dish is strikingly\u003cstrong> \u003c/strong>\u003ca href=\"http://www.modernartdesserts.com/\" target=\"_blank\">similar in both spirit and design\u003c/a> to a dessert that Freeman and her team created several years ago for a museum event.\u003c/p>\n\u003cp>\"It stings because I felt like I was doing something for beauty and for love,\" she says. \"I'm just so bummed that the SFMOMA didn't want me and my future inspiration back.\"\u003c/p>\n\u003cp>Freeman's path to baking actually traces right back the museum. It's where, as an art student, she discovered \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/65\" target=\"_blank\">Display Cakes\u003c/a>,\u003cstrong> \u003c/strong>Wayne Thiebaud's 1963 painting of frosted confections, which inspired her to pursue a career as a pastry chef. The stable of modern art desserts\u003cstrong> \u003c/strong>(and some savory items) that\u003cstrong> \u003c/strong>she and her small team made at the SFMOMA evolved organically after Blue Bottle began operating the café in 2009.\u003c/p>\n\u003cp>\"This was entirely new to me,\" she says. \"I had never heard of somebody making art desserts. I wasn't like, 'Here's a chance to do that thing I heard about.' It just came because I was where I first found my Wayne Thiebold cake, and that inspired me to be a baker.\"\u003c/p>\n\u003cp>But the museum says art as a muse for food is not a concept that belongs to Freeman. Neither the SFMOMA nor the new caterer responded to interview requests, but, in a statement, the museum said:\u003c/p>\n\u003cblockquote>\n\u003cp>\"SFMOMA is highly respectful of the expression of our partners and their desire to draw inspiration from the museum's architecture and art collection to create new work across all media, including food. Our art-inspired desserts continue a long tradition of art-inspired food served at SFMOMA and at museums and cultural institutions all over the world. We were pleased that Caitlin Freeman was a part of that legacy and are very grateful and respectful of her contributions.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>In the art world as in the food world, creators are constantly finding inspiration in — and riffing off — each other's work. But food is a difficult medium to copyright, so some chefs give credit on the menu if a dish was inspired by another chef.\u003c/p>\n\u003cp>\"Recipes are not copyrightable, nor are methods of cooking, and ideas are never copyrightable. So the idea of making desserts inspired by artworks could not be copyrighted,\" says intellectual property \u003ca href=\"http://www.eater.com/2012/12/11/6509773/intellectual-property-lawyer-naomi-straus-on-how-chefs-can-protect\" target=\"_blank\">attorney Naomi Beckman-Straus\u003c/a> with the firm Mitchell Silberberg & Knupp in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_109965\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg\" alt=\"Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage.\" width=\"2250\" height=\"1498\" class=\"size-full wp-image-109965\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg 2250w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-960x639.jpg 960w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage. \u003ccite>(Mondrian/Holtzman Trust; Clay McLachlan/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_109975\" class=\"wp-caption aligncenter\" style=\"max-width: 996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png\" alt=\"John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles.\" width=\"996\" height=\"660\" class=\"size-full wp-image-109975\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png 996w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-400x265.png 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-960x636.png 960w\" sizes=\"(max-width: 996px) 100vw, 996px\">\u003cfigcaption class=\"wp-caption-text\">John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. \u003ccite>(John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. John Zurier; Charles Villyard/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"However, there is no clear reason why the visual appearance of a dish could not be copyrighted,\" she says. \"Because our legal system works on precedent, a lot of it is just that it's generally accepted that there's no copyright protection for restaurant dishes or food.\"\u003c/p>\n\u003cp>Copyright does not extend to useful articles – the basic, functional objects that people need. Like food, clothing and furniture are also not protected by copyright.\u003c/p>\n\u003cp>But what if, say, the piece of furniture has an artistic element? In a landmark case in 1954, the Supreme Court decided that sculptural, artistic bases on lamps were \"conceptually separate\" from the lamp, and therefore were eligible for copyright protection.\u003c/p>\n\u003cp>\"In theory, that could be done with food, although it hasn't really been,\" Beckman-Straus says.\u003c/p>\n\u003cp>She notes that a case currently before the Supreme Court could potentially pave the way for more people to try to fight for food copyright. The high court has agreed to hear a case involving whether the designs on cheerleading uniforms can be copyrightable.\u003c/p>\n\u003cp>\"It will hopefully [bring] some clarity on when you can separate the artistic expression part from the usefulness,\" Beckman-Straus says. \"If the ruling makes it clearer how you can prove that the visual appearance of something is different from its useful aspects, then it could open the door to more claims based on food.\"\u003c/p>\n\u003cp>In trademark law, a business can protect the overall look and feel of a product if it serves to distinguish the brand. It's called \"trade dress\" and she argues that it could be applied to plating and the way food looks. (She wrote about \u003ca href=\"http://www.uclalawreview.org/trade-dress-protection-for-cuisine-monetizing-creativity-in-a-low-ip-industry/\" target=\"_blank\">trade dress and cuisine in the UCLA Law Review\u003c/a>.)\u003c/p>\n\u003cp>\"If there's a very specific style a chef uses, or a dish that they use to signify 'This is my restaurant,' then in theory, you could try to use trade dress to get that protection,\" Beckman-Straus says.\u003c/p>\n\u003cp>As for Freeman, she says she doesn't plan to pursue legal action. But future visits to the SFMOMA, and it's café, will surely be bittersweet. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"excerpt": "Caitlin Freeman made a name for herself selling modern art-inspired pastries at the SFMOMA. The museum's cafe just reopened with a new caterer — whose desserts look suspiciously familiar.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where do you draw the line between inspiration and straight-up imitation when it comes to food?\u003c/p>\n\u003cp>A few years ago, we brought you the \u003ca href=\"http://www.npr.org/sections/thesalt/2013/04/15/177317449/modern-art-desserts-how-to-bake-a-mondrian-in-your-oven\" target=\"_blank\">story\u003c/a> of Caitlin Freeman, a pastry chef baking innovative, art-inspired cakes at the San Francisco Museum of Modern Art. Using modern art as her muse, Freeman translated what she saw in the museum into edible form at the SFMOMA's upstairs café.\u003c/p>\n\u003cfigure id=\"attachment_109974\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/sfmoma1.jpg\" alt=\"Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago.\" width=\"400\" height=\"601\" class=\"size-full wp-image-109974\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Freeman's Oculus cake, which she and her team first created for a museum event several years ago. \u003ccite>(Clay McLachlan/Modern Art Desserts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her creations eventually filled a cookbook, \u003cem>Modern Art Desserts\u003c/em>, and her most well-known dish, a cake composed of small, primary-colored blocks delicately cemented together with chocolate icing, graced its cover. Inspired by the geometric art of Piet Mondrian, it brought both Freeman and the café fame – and inspired many a home cook to tackle this masterpiece at home.\u003c/p>\n\u003cp>The museum closed for renovations in 2013. When it re-opened last month, the upstairs café was under new management, with a new baking team – but the art-themed desserts for sale looked suspiciously familiar to Freeman. Call it a case of copycake.\u003c/p>\n\u003cp>Blue Bottle, the coffeehouse chain owned by Freeman's husband, James Freeman, used to run the SFMOMA's upstairs café, but it failed to win its bid to return after the renovations. Freeman was disappointed, but, as a lifelong art lover, she nonetheless felt compelled to take her infant daughter to check out the refurbished museum. She even stopped for a few moments to take in the scene at the new café, now run by a catering company that had previously operated the museum's downstairs café.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That's when three \"art-inspired\" desserts the café was serving caught her eye.\u003c/p>\n\u003cp>\"I saw the Ellsworth Kelly cake, and I was like, wait a second,\" she tells NPR. That cake, according to the menu, is inspired by Kelly's painting \u003cem>Gaza\u003c/em>, and features cream mousses and sponge cake. Another, called \u003ca href=\"http://www.latimes.com/entertainment/arts/la-et-cm-warhol-trip-sfmoma-20160606-snap-htmlstory.html\" target=\"_blank\">Andy Warhol's Triple Elvis\u003c/a>, is peanut butter cream, honey and banana cake. Finally, the Oculus, a sculptural nod to the museum's architectural turret, is cream-filled sponge cake with chocolate mousse and a white chocolate disc. That dish is strikingly\u003cstrong> \u003c/strong>\u003ca href=\"http://www.modernartdesserts.com/\" target=\"_blank\">similar in both spirit and design\u003c/a> to a dessert that Freeman and her team created several years ago for a museum event.\u003c/p>\n\u003cp>\"It stings because I felt like I was doing something for beauty and for love,\" she says. \"I'm just so bummed that the SFMOMA didn't want me and my future inspiration back.\"\u003c/p>\n\u003cp>Freeman's path to baking actually traces right back the museum. It's where, as an art student, she discovered \u003ca href=\"http://www.sfmoma.org/explore/collection/artwork/65\" target=\"_blank\">Display Cakes\u003c/a>,\u003cstrong> \u003c/strong>Wayne Thiebaud's 1963 painting of frosted confections, which inspired her to pursue a career as a pastry chef. The stable of modern art desserts\u003cstrong> \u003c/strong>(and some savory items) that\u003cstrong> \u003c/strong>she and her small team made at the SFMOMA evolved organically after Blue Bottle began operating the café in 2009.\u003c/p>\n\u003cp>\"This was entirely new to me,\" she says. \"I had never heard of somebody making art desserts. I wasn't like, 'Here's a chance to do that thing I heard about.' It just came because I was where I first found my Wayne Thiebold cake, and that inspired me to be a baker.\"\u003c/p>\n\u003cp>But the museum says art as a muse for food is not a concept that belongs to Freeman. Neither the SFMOMA nor the new caterer responded to interview requests, but, in a statement, the museum said:\u003c/p>\n\u003cblockquote>\n\u003cp>\"SFMOMA is highly respectful of the expression of our partners and their desire to draw inspiration from the museum's architecture and art collection to create new work across all media, including food. Our art-inspired desserts continue a long tradition of art-inspired food served at SFMOMA and at museums and cultural institutions all over the world. We were pleased that Caitlin Freeman was a part of that legacy and are very grateful and respectful of her contributions.\"\u003c/p>\n\u003c/blockquote>\n\u003cp>In the art world as in the food world, creators are constantly finding inspiration in — and riffing off — each other's work. But food is a difficult medium to copyright, so some chefs give credit on the menu if a dish was inspired by another chef.\u003c/p>\n\u003cp>\"Recipes are not copyrightable, nor are methods of cooking, and ideas are never copyrightable. So the idea of making desserts inspired by artworks could not be copyrighted,\" says intellectual property \u003ca href=\"http://www.eater.com/2012/12/11/6509773/intellectual-property-lawyer-naomi-straus-on-how-chefs-can-protect\" target=\"_blank\">attorney Naomi Beckman-Straus\u003c/a> with the firm Mitchell Silberberg & Knupp in Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_109965\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg\" alt=\"Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage.\" width=\"2250\" height=\"1498\" class=\"size-full wp-image-109965\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48.jpg 2250w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-768x511.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1440x959.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-1180x786.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/mondrian_dessertart21_custom-38d819c895f6a1a7d126a57ca11eebbca9aabf48-960x639.jpg 960w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Left: One of Piet Mondrian's grid-like color block compositions. Right: Caitlin Freeman's cake homage. \u003ccite>(Mondrian/Holtzman Trust; Clay McLachlan/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_109975\" class=\"wp-caption aligncenter\" style=\"max-width: 996px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png\" alt=\"John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles.\" width=\"996\" height=\"660\" class=\"size-full wp-image-109975\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM.png 996w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-400x265.png 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/06/Screen-shot-2016-06-08-at-12.33.49-PM-960x636.png 960w\" sizes=\"(max-width: 996px) 100vw, 996px\">\u003cfigcaption class=\"wp-caption-text\">John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. \u003ccite>(John Zurier's minimalist painting Arabella inspired these simple strawberry and mint popsicles. John Zurier; Charles Villyard/Ten Speed Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"However, there is no clear reason why the visual appearance of a dish could not be copyrighted,\" she says. \"Because our legal system works on precedent, a lot of it is just that it's generally accepted that there's no copyright protection for restaurant dishes or food.\"\u003c/p>\n\u003cp>Copyright does not extend to useful articles – the basic, functional objects that people need. Like food, clothing and furniture are also not protected by copyright.\u003c/p>\n\u003cp>But what if, say, the piece of furniture has an artistic element? In a landmark case in 1954, the Supreme Court decided that sculptural, artistic bases on lamps were \"conceptually separate\" from the lamp, and therefore were eligible for copyright protection.\u003c/p>\n\u003cp>\"In theory, that could be done with food, although it hasn't really been,\" Beckman-Straus says.\u003c/p>\n\u003cp>She notes that a case currently before the Supreme Court could potentially pave the way for more people to try to fight for food copyright. The high court has agreed to hear a case involving whether the designs on cheerleading uniforms can be copyrightable.\u003c/p>\n\u003cp>\"It will hopefully [bring] some clarity on when you can separate the artistic expression part from the usefulness,\" Beckman-Straus says. \"If the ruling makes it clearer how you can prove that the visual appearance of something is different from its useful aspects, then it could open the door to more claims based on food.\"\u003c/p>\n\u003cp>In trademark law, a business can protect the overall look and feel of a product if it serves to distinguish the brand. It's called \"trade dress\" and she argues that it could be applied to plating and the way food looks. (She wrote about \u003ca href=\"http://www.uclalawreview.org/trade-dress-protection-for-cuisine-monetizing-creativity-in-a-low-ip-industry/\" target=\"_blank\">trade dress and cuisine in the UCLA Law Review\u003c/a>.)\u003c/p>\n\u003cp>\"If there's a very specific style a chef uses, or a dish that they use to signify 'This is my restaurant,' then in theory, you could try to use trade dress to get that protection,\" Beckman-Straus says.\u003c/p>\n\u003cp>As for Freeman, she says she doesn't plan to pursue legal action. But future visits to the SFMOMA, and it's café, will surely be bittersweet. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Stuff just happens, sometimes, even to an \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Andy Warhol silkscreen worth an estimated $82 million\u003c/a>, and under constant surveillance.\u003c/p>\n\u003cp>According to \u003ca href=\"http://kron4.com/2016/06/03/sfmoma-visitor-trips-damaging-andy-warhols-triple-elvis-painting/\" target=\"_blank\" rel=\"noopener\">KRON 4\u003c/a>, a visitor to the \u003ca href=\"http://www.sfmoma.org\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>(SFMOMA) reportedly tripped last week and bumped into “Triple Elvis” causing minor damage to the iconic work. The piece is part of the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\" target=\"_blank\" rel=\"noopener\">Fisher Collection\u003c/a>, the backbone art collection of the recently reopened museum. The TV station says the painting was removed from the gallery, and taken to the \u003ca href=\"https://www.sfmoma.org/artists-artworks/research/conservation/\" target=\"_blank\" rel=\"noopener\">museum’s conservation studio\u003c/a> for evaluation.\u003c/p>\n\u003cp>The large silkscreen, in ink and silver paint on a linen canvas from 1963, shows three identical overlapping images of Elvis Presley dressed as a cowboy, his pistol out of the holster and pointing at the viewer, in a scene from \u003ca href=\"http://www.imdb.com/title/tt0053825/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flaming Star\u003c/em>\u003c/a>, a Hollywood western. The work sold at a \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Christie’s auction in 2014 for $81.9 million\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JKxlRpw1_SA\u003c/p>\n\u003cp>SFMOMA is keeping quiet about the incident. The museum’s communications director, Jill Lynch, replied to a request for comment with this email: “We’re not doing interviews on this.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Prevention is key\u003c/strong>\u003c/p>\n\u003cp>But museums, including SFMOMA, work very hard to prevent accidents like this or acts of vandalism from happening.\u003c/p>\n\u003cp>Susan Klein, director of marketing at the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, says she grimaced in sympathy when she read about the incident. She says the best tools for preventing such accidents are metering tickets and other techniques that keep galleries from getting too crowded. “So that people don’t accidentally trip over things or bump into each other or the art,” Klein says.\u003c/p>\n\u003cp>Klein also says guards should remind visitors to keep their distance from the art, and their backpacks in front or to the side of their bodies, to avoid inadvertently back into a painting or installation.\u003c/p>\n\u003cp>Many museums, Klein says, do bag searches, to keep potential vandals from bringing in knives or spray paint. But these aren’t the only cause for concern. “You can do pretty bad vandalism with pens,” Klein says.\u003c/p>\n\u003cp>Still, Klein says museums don’t want to put their art behind glass, which creates glare and distances the visitor from the work. So when the precautions fail, museums are ready.\u003c/p>\n\u003cp>\u003cstrong>How SFMOMA’s Warhol might be fixed\u003c/strong>\u003c/p>\n\u003cp>Sy Sajid, an art restorer in San Francisco who calls his business \u003ca href=\"http://www.sysphere.com/about.html\" target=\"_blank\" rel=\"noopener\">SYSPHERE Conservation\u003c/a>, once fixed a silkscreen on paper of Mick Jagger by Warhol for a private owner. “The restoration work would involve correcting and over-painting the damaged areas in silkscreen inks,” Sajid says of the likely process involved in restoring the damage done to “Triple Elvis.” Sajid says it might also be possible to over-paint a simple scuff mark with a brush. “Or perhaps you create a silkscreen just for that area and then silkscreen it just the way it was,” Sajid says.\u003c/p>\n\u003cp>Fine art Restoration is such an advanced field that even a tear in a linen canvas can be repaired, Sajid says, recalling an incident from 2006 when \u003ca href=\"http://www.newyorker.com/magazine/2006/10/23/the-40-million-elbow\" target=\"_blank\" rel=\"noopener\">Las Vegas casino owner Steve Wynn punctured a Picasso\u003c/a> he owned. Wynn was about to offload the damaged work for $139 million. But instead, he canceled the sale and a restorer fixed the painting.\u003c/p>\n\u003cfigure id=\"attachment_11657697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11657697 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg\" alt=\"La Reve by Picasso \" width=\"640\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg 951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-400x496.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-483x600.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-1180x1464.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-960x1191.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘La Reve’ by Picasso\u003c/figcaption>\u003c/figure>\n\u003cp>Sajid says SFMOMA’s conservation and restoration department is certainly well equipped to fix “Triple Elvis.” “This is why they’re being so secretive about it,” he says. “Because they’re going to take care of it and no one will know about the damage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Obviously the story about the damage to the Warhol has gotten out. But at least SFMOMA isn’t facing the same problem as a museum Klein brought up but wouldn’t name. “Someone actually kissed a painting and left lipstick on it,” Klein says about the incident. “What are you going to do about that?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stuff just happens, sometimes, even to an \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Andy Warhol silkscreen worth an estimated $82 million\u003c/a>, and under constant surveillance.\u003c/p>\n\u003cp>According to \u003ca href=\"http://kron4.com/2016/06/03/sfmoma-visitor-trips-damaging-andy-warhols-triple-elvis-painting/\" target=\"_blank\" rel=\"noopener\">KRON 4\u003c/a>, a visitor to the \u003ca href=\"http://www.sfmoma.org\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>(SFMOMA) reportedly tripped last week and bumped into “Triple Elvis” causing minor damage to the iconic work. The piece is part of the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\" target=\"_blank\" rel=\"noopener\">Fisher Collection\u003c/a>, the backbone art collection of the recently reopened museum. The TV station says the painting was removed from the gallery, and taken to the \u003ca href=\"https://www.sfmoma.org/artists-artworks/research/conservation/\" target=\"_blank\" rel=\"noopener\">museum’s conservation studio\u003c/a> for evaluation.\u003c/p>\n\u003cp>The large silkscreen, in ink and silver paint on a linen canvas from 1963, shows three identical overlapping images of Elvis Presley dressed as a cowboy, his pistol out of the holster and pointing at the viewer, in a scene from \u003ca href=\"http://www.imdb.com/title/tt0053825/\" target=\"_blank\" rel=\"noopener\">\u003cem>Flaming Star\u003c/em>\u003c/a>, a Hollywood western. The work sold at a \u003ca href=\"http://www.christies.com/lotfinder/paintings/andy-warhol-triple-elvis-ferus-type-5846064-details.aspx\" target=\"_blank\" rel=\"noopener\">Christie’s auction in 2014 for $81.9 million\u003c/a>.\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/JKxlRpw1_SA'\n title='//www.youtube.com/embed/JKxlRpw1_SA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SFMOMA is keeping quiet about the incident. The museum’s communications director, Jill Lynch, replied to a request for comment with this email: “We’re not doing interviews on this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Prevention is key\u003c/strong>\u003c/p>\n\u003cp>But museums, including SFMOMA, work very hard to prevent accidents like this or acts of vandalism from happening.\u003c/p>\n\u003cp>Susan Klein, director of marketing at the \u003ca href=\"https://www.famsf.org/\" target=\"_blank\" rel=\"noopener\">Fine Arts Museums of San Francisco\u003c/a>, says she grimaced in sympathy when she read about the incident. She says the best tools for preventing such accidents are metering tickets and other techniques that keep galleries from getting too crowded. “So that people don’t accidentally trip over things or bump into each other or the art,” Klein says.\u003c/p>\n\u003cp>Klein also says guards should remind visitors to keep their distance from the art, and their backpacks in front or to the side of their bodies, to avoid inadvertently back into a painting or installation.\u003c/p>\n\u003cp>Many museums, Klein says, do bag searches, to keep potential vandals from bringing in knives or spray paint. But these aren’t the only cause for concern. “You can do pretty bad vandalism with pens,” Klein says.\u003c/p>\n\u003cp>Still, Klein says museums don’t want to put their art behind glass, which creates glare and distances the visitor from the work. So when the precautions fail, museums are ready.\u003c/p>\n\u003cp>\u003cstrong>How SFMOMA’s Warhol might be fixed\u003c/strong>\u003c/p>\n\u003cp>Sy Sajid, an art restorer in San Francisco who calls his business \u003ca href=\"http://www.sysphere.com/about.html\" target=\"_blank\" rel=\"noopener\">SYSPHERE Conservation\u003c/a>, once fixed a silkscreen on paper of Mick Jagger by Warhol for a private owner. “The restoration work would involve correcting and over-painting the damaged areas in silkscreen inks,” Sajid says of the likely process involved in restoring the damage done to “Triple Elvis.” Sajid says it might also be possible to over-paint a simple scuff mark with a brush. “Or perhaps you create a silkscreen just for that area and then silkscreen it just the way it was,” Sajid says.\u003c/p>\n\u003cp>Fine art Restoration is such an advanced field that even a tear in a linen canvas can be repaired, Sajid says, recalling an incident from 2006 when \u003ca href=\"http://www.newyorker.com/magazine/2006/10/23/the-40-million-elbow\" target=\"_blank\" rel=\"noopener\">Las Vegas casino owner Steve Wynn punctured a Picasso\u003c/a> he owned. Wynn was about to offload the damaged work for $139 million. But instead, he canceled the sale and a restorer fixed the painting.\u003c/p>\n\u003cfigure id=\"attachment_11657697\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11657697 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg\" alt=\"La Reve by Picasso \" width=\"640\" height=\"794\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-951x1180.jpg 951w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-400x496.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-483x600.jpg 483w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-1180x1464.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso-960x1191.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/La-Reve-by-Picasso.jpg 1560w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘La Reve’ by Picasso\u003c/figcaption>\u003c/figure>\n\u003cp>Sajid says SFMOMA’s conservation and restoration department is certainly well equipped to fix “Triple Elvis.” “This is why they’re being so secretive about it,” he says. “Because they’re going to take care of it and no one will know about the damage.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Obviously the story about the damage to the Warhol has gotten out. But at least SFMOMA isn’t facing the same problem as a museum Klein brought up but wouldn’t name. “Someone actually kissed a painting and left lipstick on it,” Klein says about the incident. “What are you going to do about that?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Southeast Texas house where blues and rock star Janis Joplin lived as a child is for sale for $500,000.\u003c/p>\n\u003cp>[contextly_sidebar id=”QPQjiyruR9gqDqEkbXaQDBQzzbEk6scQ”]\u003c/p>\n\u003cp>The Port Arthur home of Joplin, who died in 1970, has a Texas Historical Commission marker outside confirming she lived at the residence. Joplin was a preschooler when the family moved into the nearly 1,500-square-foot house.\u003c/p>\n\u003cp>Tax appraisal records value the home at $52,500. The seller hasn’t been made public.\u003c/p>\n\u003cp>Officials with the Museum of the Gulf Coast were contacted about acquiring the house before it went on the market this month — but declined.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Museum official Sarah Bellian says not every house can be a museum. She cited upkeep costs and fundraising concerns.\u003c/p>\n\u003cp>Joplin’s wildly painted 1964 Porsche 356C Cabriolet fetched $1.76 million during a December auction.\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": "\u003cp>A Minnesota judge on Monday approved an aggressive timeline for testing claims of heirship to Prince’s estate.\u003c/p>\n\u003cp>In a one-page order, Carver County District Judge Kevin Eide approved a protocol proposed by the trust company overseeing his affairs. It gives existing claimants until Friday to file sworn statements detailing their claims to have a genetic relationship with Prince that would make them heirs, since no will has surfaced.\u003c/p>\n\u003cp>New claimants will get a week from filing their initial notices to file the three-page questionnaires, which ask for details on parentage, along with supporting documents such as claimants’ birth and parents’ marriage certificates.\u003c/p>\n\u003cp>The special administrator would let claimants know within three days whether their claimed familial relationship is already established as a matter of law, or if DNA testing is necessary. Those rejected could file objections with the judge.\u003c/p>\n\u003cp>The claimants so far include Prince’s sister, Tyka Nelson, several half-siblings, a Colorado prison inmate who says Prince was his father and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The next hearing is June 27.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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