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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Afeni Shakur, the political activist mother of slain rap icon Tupac Shakur who inspired her son’s work and strived to keep his legacy alive, has died. She was 69.\u003c/p>\n\u003cp>The Marin County, California, Sheriff’s Department confirmed her death on Twitter. The agency said deputies were responding to a report of a possible cardiac arrest at Shakur’s Sausalito home, but no other details were provided.\u003c/p>\n\u003cp>Born Alice Faye Williams, Shakur changed her name as an adult when she became politically active and joined the Black Panther movement. She was pregnant with Tupac in 1971 and incarcerated while she and other Panthers faced conspiracy charges that were later dismissed.\u003c/p>\n\u003cp>As she bounced from New York City to Baltimore to California, falling deeper into drugs and the Black Panther movement, she enrolled young Tupac in several arts schools and programs, where he honed the natural musical and acting gifts that would make him a hip-hop icon.\u003c/p>\n\u003cp>Afeni Shakur was an inspiration for her son’s music and oversaw his musical catalog and legacy after his death. She was the subject of Tupac Shakur’s 1995 hit “Dear Mama,” and fans on social media referenced the song in tweets and posts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of her life was consumed with keeping Tupac Shakur’s legacy alive, including opening the now defunct Tupac Amaru Shakur Center for the Arts in Georgia. The project was focused on helping at-risk youth.\u003c/p>\n\u003cp>“Arts can save children, no matter what’s going on in their homes,” Afeni Shakur told The Associated Press in a 2005 interview. “I wasn’t available to do the right things for my son. If not for the arts, my child would’ve been lost.”\u003c/p>\n\u003cp>A movie about Tupac Shakur’s life, \u003cem>All Eyez on Me\u003c/em>, is set to be released in the fall with Danai Gurira playing the rapper. Afeni Shakur served as an executive producer for the film.\u003c/p>\n\u003cp>Tupac Shakur died in 1996 at age 25, the victim of a drive-by shooting. The killing remains unsolved.\u003c/p>\n\u003cp>Conspiracies abound about Tupac Shakur’s shooting, but they were all a waste of time to Afeni Shakur.\u003c/p>\n\u003cp>“We decided to deal with the living. This is justice for me,” she said in 2005. “I need to do what God has put in front of me to do, and it ain’t trying to figure out who killed Tupac.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Equipto decided he’d had enough.\u003c/p>\n\u003cp>After seeing nine people in the past two years shot and killed by law enforcement in his hometown, the San Francisco hip-hop artist born Ilych Sato knew he’d have to get people’s attention somehow.\u003c/p>\n\u003cp>So, on April 21, Sato and four others stationed themselves outside the Mission District police station on a highly publicized hunger strike, vowing to stay put until embattled SFPD chief Greg Suhr steps down.\u003c/p>\n\u003cp>“We’re just right here, tired of taking it,” Sato tells KQED. “Our voice is powerful.”\u003c/p>\n\u003cp>Sato is joined in protest by fellow hip-hop artist Sellassie Blackwell, as well as Ike Pinkston, a preschool teacher; Edwin Lindo, a Ninth District candidate for Supervisor; and Sato’s mother María Cristina Gutierrez, who serves as executive director at the Mission District’s Compañeros del Barrio preschool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the high-profile deaths of Alex Nieto, Mario Woods, Luis Gongora, Amilcar Perez-Lopez and others at the hands of law enforcement, the ‘Frisco Five’ hope to bring attention to homelessness, gentrification, housing and police misconduct, including the ongoing SFPD scandal of \u003ca href=\"http://www.sfgate.com/crime/article/Under-pressure-over-officers-racist-texts-7384205.php\" target=\"_blank\" rel=\"noopener\">racist text messages\u003c/a> sent amongst officers.\u003c/p>\n\u003cp>As Equipto, Sato has released over two dozen albums, and is part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" target=\"_blank\" rel=\"noopener\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population is \u003ca href=\"http://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area\" target=\"_blank\" rel=\"noopener\">quickly diminishing\u003c/a>. In an incident caught on video last year, Sato accosted Mayor Ed Lee at a restaurant, alleging a lack of concern for the displaced Asian population in San Francisco and calling Lee “a disgrace to Asian people.”\u003c/p>\n\u003cp>The hunger strikers vow to stay until Chief Suhr is fired or resigns.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Text: Gabe Meline\u003c/em>\u003cbr>\n\u003cem>Video: Claudia Escobar\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Equipto decided he’d had enough.\u003c/p>\n\u003cp>After seeing nine people in the past two years shot and killed by law enforcement in his hometown, the San Francisco hip-hop artist born Ilych Sato knew he’d have to get people’s attention somehow.\u003c/p>\n\u003cp>So, on April 21, Sato and four others stationed themselves outside the Mission District police station on a highly publicized hunger strike, vowing to stay put until embattled SFPD chief Greg Suhr steps down.\u003c/p>\n\u003cp>“We’re just right here, tired of taking it,” Sato tells KQED. “Our voice is powerful.”\u003c/p>\n\u003cp>Sato is joined in protest by fellow hip-hop artist Sellassie Blackwell, as well as Ike Pinkston, a preschool teacher; Edwin Lindo, a Ninth District candidate for Supervisor; and Sato’s mother María Cristina Gutierrez, who serves as executive director at the Mission District’s Compañeros del Barrio preschool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the high-profile deaths of Alex Nieto, Mario Woods, Luis Gongora, Amilcar Perez-Lopez and others at the hands of law enforcement, the ‘Frisco Five’ hope to bring attention to homelessness, gentrification, housing and police misconduct, including the ongoing SFPD scandal of \u003ca href=\"http://www.sfgate.com/crime/article/Under-pressure-over-officers-racist-texts-7384205.php\" target=\"_blank\" rel=\"noopener\">racist text messages\u003c/a> sent amongst officers.\u003c/p>\n\u003cp>As Equipto, Sato has released over two dozen albums, and is part of a \u003ca href=\"http://wineandbowties.com/music/four-one-fivin-san-francisco-rap-aint-dead-yet/\" target=\"_blank\" rel=\"noopener\">dwindling hip-hop community\u003c/a> in San Francisco, where the black population is \u003ca href=\"http://ww2.kqed.org/news/2015/04/24/san-francisco-could-be-a-lot-whiter-in-25-years-predicts-a-new-profile-of-bay-area\" target=\"_blank\" rel=\"noopener\">quickly diminishing\u003c/a>. In an incident caught on video last year, Sato accosted Mayor Ed Lee at a restaurant, alleging a lack of concern for the displaced Asian population in San Francisco and calling Lee “a disgrace to Asian people.”\u003c/p>\n\u003cp>The hunger strikers vow to stay until Chief Suhr is fired or resigns.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Text: Gabe Meline\u003c/em>\u003cbr>\n\u003cem>Video: Claudia Escobar\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'6x9' Solitary Confinement VR Experience Merges Journalism and Art",
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"content": "\u003cp>Soon after \u003ca href=\"http://www.theguardian.com/world/ng-interactive/2016/apr/27/you-start-seeing-figures-in-the-paint-chips-recollections-of-life-in-solitary-confinement\" target=\"_blank\" rel=\"noopener\">Dolores Canales\u003c/a> was sent to solitary confinement at the California Institute for Women, a state prison located in Chino, CA, she started to feel disoriented. “It’s like you’ve been put into another country where you don’t know the language or the area or anything,” says the ex-prisoner, who spent nine months in solitary after landing in jail for drug-related crimes at the age of 18. “You have to reestablish yourself in this new world.”\u003c/p>\n\u003cp>Canales did her best to cope with the deprivations of her tiny, airless cell by galvanizing her fellow prisoners in neighboring pens to adorn themselves with their bedsheets to “dress for dinner” and sing songs together. Aretha Franklin’s “Respect” was a favorite; Canales would belt out the Queen of Soul’s melody and the other prisoners would chime in with the “sock it to me, sock it to me” refrain.\u003c/p>\n\u003cfigure id=\"attachment_11536689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11536689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-800x513.jpg\" alt=\"Delores Canales, formerly incarcerated in solitary confinement poses for a portrait in Fullerton, Orange County, California on 23rd March 2016\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-960x616.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delores Canales, formerly incarcerated in solitary confinement poses for a portrait in Fullerton, Orange County, California on Mar. 23, 2016 \u003ccite>(Photo: Dan Tuffs/Courtesy of The Guardian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Virtual Reality Experience of Solitary Confinement\u003c/strong>\u003c/p>\n\u003cp>Canales’ impressions of life in solitary are part of \u003ca href=\"http://www.theguardian.com/world/ng-interactive/2016/apr/27/6x9-a-virtual-experience-of-solitary-confinement\" target=\"_blank\" rel=\"noopener\">\u003cem>6×9: A Virtual Reality Experience of Solitary Confinement\u003c/em>\u003c/a>, an immersive, audiovisual storytelling experience from the U.K.’s \u003cem>Guardian Media Group\u003c/em>. The virtual reality (VR) project had its official launch this week following previews at the Sundance and Tribeca film festivals. The project aims to increase public awareness about the destructive impact of isolation on the thousands of men and women currently in solitary confinement.\u003c/p>\n\u003cp>“You can be mentally damaged by being placed in isolation,” says \u003cem>6×9\u003c/em>’s executive producer Francesca Panetta. “But by using this technology, I hope that you will get a more visceral feeling of what it is like to be locked in a 6-by-9 cell for 23 hours a day, of the boredom, of the fear, of the confusion.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"6x9: a virtual experience of solitary confinement\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hwbJLlbeAS0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Don’t believe the hype about VR?\u003c/strong>\u003c/p>\n\u003cp>Ever since \u003cem>\u003ca href=\"http://www.nytimes.com/newsgraphics/2015/nytvr/\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>\u003c/em> went live with its first experiments in VR storytelling last year — \u003cem>The Times\u003c/em> wasn’t the first mainstream journalism entity in the space, but the most prominent at that point — media companies have stampeded towards the format. They’ve have glommed onto the tactile possibilities of VR as a way to capture the public’s faulty-circuit attention span in a media landscape driven by social media’s interactive itch.\u003c/p>\n\u003cp>According to a \u003ca href=\"http://www.knightfoundation.org/media/uploads/publication_pdfs/VR_report_web.pdf\" target=\"_blank\" rel=\"noopener\">Knight Foundation report\u003c/a> on VR journalism published in March 2016, the number of new investors in VR technology, content creation and distribution increased 27 percent in 2015 over 2014 and is projected to continue to increase in 2016. And \u003cem>The Times\u003c/em> is betting large on this trend. \u003ca href=\"http://www.mediapost.com/publications/article/274540/nyt-sends-cardboard-viewers-to-digital-subscribe.html\" target=\"_blank\" rel=\"noopener\">The company announced this week \u003c/a>a plan to distribute 300,000 of Google’s cheap, basic VR viewer, Google Cardboard, in conjunction with the upcoming release of a new VR project that gives people the chance to explore Pluto.\u003c/p>\n\u003cp>There’s certainly an unbridled amount of hype around how journalism might exploit the new technology and attached storytelling potential. But the Knight report asks, right upfront, what we all want to know: “Perhaps the biggest question facing the nascent industry is what will happen when the novelty of VR wears off, and whether the quality of the storytelling and the VR experience will bring people back to look at the content on a regular basis.”\u003c/p>\n\u003cp>I’m betting the answer lies in the space where journalism meets art. And if it succeeds, \u003cem>6×9\u003c/em> might be a case in point.\u003c/p>\n\u003cp>\u003cstrong>Where news meets art\u003c/strong>\u003c/p>\n\u003cp>The project is firmly rooted in traditional news reporting: It takes its inspiration from stories about the \u003ca href=\"http://www.pbs.org/wgbh/frontline/article/what-does-solitary-confinement-do-to-your-mind/\" target=\"_blank\" rel=\"noopener\">psychological damage caused by solitary confinement\u003c/a> and \u003ca href=\"https://www.washingtonpost.com/opinions/barack-obama-why-we-must-rethink-solitary-confinement/2016/01/25/29a361f2-c384-11e5-8965-0607e0e265ce_story.html\" target=\"_blank\" rel=\"noopener\">Barack Obama’s proposed reforms to the system for juveniles and people with severe mental problems\u003c/a>; the \u003cem>Guardian\u003c/em> team conducted in-depth interviews with seven people who’ve experienced solitary in California and New York for the project; and it weaves in sound from the \u003cem>PBS Frontline\u003c/em> documentary \u003ca href=\"http://www.pbs.org/wgbh/frontline/film/solitary-nation/\" target=\"_blank\" rel=\"noopener\">\u003cem>Solitary Nation\u003c/em>\u003c/a>. Panetta says the \u003cem>PBS\u003c/em> producers made 25 hours of video footage available to \u003cem>The Guardian\u003c/em> for \u003cem>6×9\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"What's Life Really Like in Solitary Confinement? | FRONTLINE\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tZ9pvY1nEzE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But experiencing \u003cem>6×9\u003c/em> feels slightly different from most efforts in VR journalism I’ve tested out so far. It’s more akin to \u003ca href=\"http://www.antenna-theater.org/alcatraz-tickets/\" target=\"_blank\" rel=\"noopener\">Bay Area theater artist Chris Hardman’s longstanding yet still gripping audio tour of Alcatraz\u003c/a> than it is to, say, \u003ca href=\"http://graphics.latimes.com/mars-gale-crater-vr/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Los Angeles Times\u003c/em>’ attempt to capture what it’s like to explore Mars\u003c/a>, the \u003ca href=\"http://abcnews.go.com/International/inside-hermit-kingdom-virtual-reality-journey-north-korea/story?id=35654118\" target=\"_blank\" rel=\"noopener\">Inside North Korea\u003c/a> story from \u003cem>ABC News\u003c/em> or \u003ca href=\"http://www.usatoday.com/pages/interactives/cuba360/\" target=\"_blank\" rel=\"noopener\">\u003cem>USA Today\u003c/em>’s jaunt through Old Havana\u003c/a> in a vintage bubblegum pink Ford.\u003c/p>\n\u003cp>And that’s not just because the Alcatraz audio tour and \u003cem>6×9\u003c/em> are both about incarceration. From the very opening lines of the voice over in \u003cem>6×9\u003c/em>, which flatly announces, “Welcome to your cell. You’re going to be here for 23 hours a day,” to the way in which ghostly snippets of prisoners’ stories seep in and out of your ears depending on where you move your head, \u003cem>6×9\u003c/em> announces itself above all as an \u003cem>audio forward\u003c/em> experience — and one that’s meaningfully triggered by the visual environment. You sit in that tiny space and your pores open up wide to every tiny sound, whether that’s a voice echoing in the distance, or the squeak of the mattress. The visuals actually play second fiddle to the soundscape, and that’s overwhelmingly what transports you in the physical space.\u003c/p>\n\u003cp>Interestingly, \u003cem>6×9\u003c/em> isn’t the only immersive journalism project about solitary confinement out there right now. \u003cem>The Huffington Post’s \u003c/em>RYOT team created \u003ca href=\"http://ryot.huffingtonpost.com/confinement/#!\" target=\"_blank\" rel=\"noopener\">\u003cem>Confinement\u003c/em>\u003c/a>, a 360-degree video story which also uses prison sounds and narration to tell of the horrors of life in a cramped, concrete box. But this piece, though it incorporates the voices of prisoners talking about their experiences, doesn’t combine the audio and visual components in as sophisticated a fashion as \u003cem>The Guardian’s\u003c/em> effort. Looking around the cell in \u003cem>Confinement\u003c/em> doesn’t initiate a new piece of audio. It’s a traditional narrative that unfolds in one direction over time.\u003c/p>\n\u003cp>Ira Glass, the creator of \u003ca href=\"http://www.thisamericanlife.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>This American Life\u003c/em>\u003c/a>, famously describes radio as the “\u003ca href=\"http://current.org/2016/02/tips-from-ira-glass-on-better-radio/\" target=\"_blank\" rel=\"noopener\">most visual medium\u003c/a>.” If \u003cem>6×9\u003c/em> is anything to go by, more VR journalists should pay attention to Glass’ words.\u003c/p>\n\u003cfigure id=\"attachment_11534436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11534436\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-800x427.jpg\" alt=\"A still from '6x9'\" width=\"800\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-800x427.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-400x214.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-768x410.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-1180x630.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-960x513.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846.jpg 1913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘6×9’ \u003ccite>(Photo: The Mill/Courtesy of The Guardian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How to experience \u003cem>6×9\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>You can experience \u003cem>6×9\u003c/em> in a variety of ways. The optimal one is to strap on a Samsung Gear VR headset with the \u003cem>6×9\u003c/em> app downloaded onto a Google Android phone. Or you can don a Google Cardboard viewer for a similar experience (albeit one with less fancy optics). These methods are the most compelling; moving your head around initiates different parts of the story.\u003c/p>\n\u003cp>You don’t actually have to have a viewer at all, though, as there are two alternative ways to get inside the piece: watch it on a smartphone, which allows you to shuffle around the prison cell by toggling around your smartphone’s screen with a finger; or if you don’t have a smartphone, \u003cem>The Guardian\u003c/em> has released a 360-degree video version of the piece on the project’s webpage. These two methods won’t necessarily make you feel like you’re locked behind bars, but they do communicate the essence of the story.\u003c/p>\n\u003cp>\u003cstrong>VR in the Bay Area\u003c/strong>\u003c/p>\n\u003cp>In addition to the above, \u003cem>6×9\u003c/em> also exists as a physical installation. People who interacted with the project at the Tribeca Film Festival could explore the story while physically moving about in a model of a prison cell. Solitary confinement survivors present at the festival to share their experiences. The installation is touring, though sadly it won’t come to California anytime soon.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But if you’d like to get more of a handle on the burgeoning world of VR storytelling — albeit from a fiction-based rather than journalistic angle — the \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco International Film Festival\u003c/em>\u003c/a> presents a “VR Day” on Saturday, April 30 at Gray Area. The event provides an opportunity for festival goers to steep themselves in VR filmmaking and meet some of the key players in the field. For more information visit \u003ca href=\"http://www.sffs.org/sfiff59/films/vr-day#.VyKa0_krLIW\" target=\"_blank\" rel=\"noopener\">sffs.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soon after \u003ca href=\"http://www.theguardian.com/world/ng-interactive/2016/apr/27/you-start-seeing-figures-in-the-paint-chips-recollections-of-life-in-solitary-confinement\" target=\"_blank\" rel=\"noopener\">Dolores Canales\u003c/a> was sent to solitary confinement at the California Institute for Women, a state prison located in Chino, CA, she started to feel disoriented. “It’s like you’ve been put into another country where you don’t know the language or the area or anything,” says the ex-prisoner, who spent nine months in solitary after landing in jail for drug-related crimes at the age of 18. “You have to reestablish yourself in this new world.”\u003c/p>\n\u003cp>Canales did her best to cope with the deprivations of her tiny, airless cell by galvanizing her fellow prisoners in neighboring pens to adorn themselves with their bedsheets to “dress for dinner” and sing songs together. Aretha Franklin’s “Respect” was a favorite; Canales would belt out the Queen of Soul’s melody and the other prisoners would chime in with the “sock it to me, sock it to me” refrain.\u003c/p>\n\u003cfigure id=\"attachment_11536689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11536689\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-800x513.jpg\" alt=\"Delores Canales, formerly incarcerated in solitary confinement poses for a portrait in Fullerton, Orange County, California on 23rd March 2016\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Dolores-e1461954677448-960x616.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Delores Canales, formerly incarcerated in solitary confinement poses for a portrait in Fullerton, Orange County, California on Mar. 23, 2016 \u003ccite>(Photo: Dan Tuffs/Courtesy of The Guardian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A Virtual Reality Experience of Solitary Confinement\u003c/strong>\u003c/p>\n\u003cp>Canales’ impressions of life in solitary are part of \u003ca href=\"http://www.theguardian.com/world/ng-interactive/2016/apr/27/6x9-a-virtual-experience-of-solitary-confinement\" target=\"_blank\" rel=\"noopener\">\u003cem>6×9: A Virtual Reality Experience of Solitary Confinement\u003c/em>\u003c/a>, an immersive, audiovisual storytelling experience from the U.K.’s \u003cem>Guardian Media Group\u003c/em>. The virtual reality (VR) project had its official launch this week following previews at the Sundance and Tribeca film festivals. The project aims to increase public awareness about the destructive impact of isolation on the thousands of men and women currently in solitary confinement.\u003c/p>\n\u003cp>“You can be mentally damaged by being placed in isolation,” says \u003cem>6×9\u003c/em>’s executive producer Francesca Panetta. “But by using this technology, I hope that you will get a more visceral feeling of what it is like to be locked in a 6-by-9 cell for 23 hours a day, of the boredom, of the fear, of the confusion.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"6x9: a virtual experience of solitary confinement\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/hwbJLlbeAS0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Don’t believe the hype about VR?\u003c/strong>\u003c/p>\n\u003cp>Ever since \u003cem>\u003ca href=\"http://www.nytimes.com/newsgraphics/2015/nytvr/\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>\u003c/em> went live with its first experiments in VR storytelling last year — \u003cem>The Times\u003c/em> wasn’t the first mainstream journalism entity in the space, but the most prominent at that point — media companies have stampeded towards the format. They’ve have glommed onto the tactile possibilities of VR as a way to capture the public’s faulty-circuit attention span in a media landscape driven by social media’s interactive itch.\u003c/p>\n\u003cp>According to a \u003ca href=\"http://www.knightfoundation.org/media/uploads/publication_pdfs/VR_report_web.pdf\" target=\"_blank\" rel=\"noopener\">Knight Foundation report\u003c/a> on VR journalism published in March 2016, the number of new investors in VR technology, content creation and distribution increased 27 percent in 2015 over 2014 and is projected to continue to increase in 2016. And \u003cem>The Times\u003c/em> is betting large on this trend. \u003ca href=\"http://www.mediapost.com/publications/article/274540/nyt-sends-cardboard-viewers-to-digital-subscribe.html\" target=\"_blank\" rel=\"noopener\">The company announced this week \u003c/a>a plan to distribute 300,000 of Google’s cheap, basic VR viewer, Google Cardboard, in conjunction with the upcoming release of a new VR project that gives people the chance to explore Pluto.\u003c/p>\n\u003cp>There’s certainly an unbridled amount of hype around how journalism might exploit the new technology and attached storytelling potential. But the Knight report asks, right upfront, what we all want to know: “Perhaps the biggest question facing the nascent industry is what will happen when the novelty of VR wears off, and whether the quality of the storytelling and the VR experience will bring people back to look at the content on a regular basis.”\u003c/p>\n\u003cp>I’m betting the answer lies in the space where journalism meets art. And if it succeeds, \u003cem>6×9\u003c/em> might be a case in point.\u003c/p>\n\u003cp>\u003cstrong>Where news meets art\u003c/strong>\u003c/p>\n\u003cp>The project is firmly rooted in traditional news reporting: It takes its inspiration from stories about the \u003ca href=\"http://www.pbs.org/wgbh/frontline/article/what-does-solitary-confinement-do-to-your-mind/\" target=\"_blank\" rel=\"noopener\">psychological damage caused by solitary confinement\u003c/a> and \u003ca href=\"https://www.washingtonpost.com/opinions/barack-obama-why-we-must-rethink-solitary-confinement/2016/01/25/29a361f2-c384-11e5-8965-0607e0e265ce_story.html\" target=\"_blank\" rel=\"noopener\">Barack Obama’s proposed reforms to the system for juveniles and people with severe mental problems\u003c/a>; the \u003cem>Guardian\u003c/em> team conducted in-depth interviews with seven people who’ve experienced solitary in California and New York for the project; and it weaves in sound from the \u003cem>PBS Frontline\u003c/em> documentary \u003ca href=\"http://www.pbs.org/wgbh/frontline/film/solitary-nation/\" target=\"_blank\" rel=\"noopener\">\u003cem>Solitary Nation\u003c/em>\u003c/a>. Panetta says the \u003cem>PBS\u003c/em> producers made 25 hours of video footage available to \u003cem>The Guardian\u003c/em> for \u003cem>6×9\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"What's Life Really Like in Solitary Confinement? | FRONTLINE\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/tZ9pvY1nEzE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>But experiencing \u003cem>6×9\u003c/em> feels slightly different from most efforts in VR journalism I’ve tested out so far. It’s more akin to \u003ca href=\"http://www.antenna-theater.org/alcatraz-tickets/\" target=\"_blank\" rel=\"noopener\">Bay Area theater artist Chris Hardman’s longstanding yet still gripping audio tour of Alcatraz\u003c/a> than it is to, say, \u003ca href=\"http://graphics.latimes.com/mars-gale-crater-vr/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Los Angeles Times\u003c/em>’ attempt to capture what it’s like to explore Mars\u003c/a>, the \u003ca href=\"http://abcnews.go.com/International/inside-hermit-kingdom-virtual-reality-journey-north-korea/story?id=35654118\" target=\"_blank\" rel=\"noopener\">Inside North Korea\u003c/a> story from \u003cem>ABC News\u003c/em> or \u003ca href=\"http://www.usatoday.com/pages/interactives/cuba360/\" target=\"_blank\" rel=\"noopener\">\u003cem>USA Today\u003c/em>’s jaunt through Old Havana\u003c/a> in a vintage bubblegum pink Ford.\u003c/p>\n\u003cp>And that’s not just because the Alcatraz audio tour and \u003cem>6×9\u003c/em> are both about incarceration. From the very opening lines of the voice over in \u003cem>6×9\u003c/em>, which flatly announces, “Welcome to your cell. You’re going to be here for 23 hours a day,” to the way in which ghostly snippets of prisoners’ stories seep in and out of your ears depending on where you move your head, \u003cem>6×9\u003c/em> announces itself above all as an \u003cem>audio forward\u003c/em> experience — and one that’s meaningfully triggered by the visual environment. You sit in that tiny space and your pores open up wide to every tiny sound, whether that’s a voice echoing in the distance, or the squeak of the mattress. The visuals actually play second fiddle to the soundscape, and that’s overwhelmingly what transports you in the physical space.\u003c/p>\n\u003cp>Interestingly, \u003cem>6×9\u003c/em> isn’t the only immersive journalism project about solitary confinement out there right now. \u003cem>The Huffington Post’s \u003c/em>RYOT team created \u003ca href=\"http://ryot.huffingtonpost.com/confinement/#!\" target=\"_blank\" rel=\"noopener\">\u003cem>Confinement\u003c/em>\u003c/a>, a 360-degree video story which also uses prison sounds and narration to tell of the horrors of life in a cramped, concrete box. But this piece, though it incorporates the voices of prisoners talking about their experiences, doesn’t combine the audio and visual components in as sophisticated a fashion as \u003cem>The Guardian’s\u003c/em> effort. Looking around the cell in \u003cem>Confinement\u003c/em> doesn’t initiate a new piece of audio. It’s a traditional narrative that unfolds in one direction over time.\u003c/p>\n\u003cp>Ira Glass, the creator of \u003ca href=\"http://www.thisamericanlife.org/\" target=\"_blank\" rel=\"noopener\">\u003cem>This American Life\u003c/em>\u003c/a>, famously describes radio as the “\u003ca href=\"http://current.org/2016/02/tips-from-ira-glass-on-better-radio/\" target=\"_blank\" rel=\"noopener\">most visual medium\u003c/a>.” If \u003cem>6×9\u003c/em> is anything to go by, more VR journalists should pay attention to Glass’ words.\u003c/p>\n\u003cfigure id=\"attachment_11534436\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11534436\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-800x427.jpg\" alt=\"A still from '6x9'\" width=\"800\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-800x427.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-400x214.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-768x410.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-1180x630.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846-960x513.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Cell-4-e1461889211846.jpg 1913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘6×9’ \u003ccite>(Photo: The Mill/Courtesy of The Guardian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How to experience \u003cem>6×9\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>You can experience \u003cem>6×9\u003c/em> in a variety of ways. The optimal one is to strap on a Samsung Gear VR headset with the \u003cem>6×9\u003c/em> app downloaded onto a Google Android phone. Or you can don a Google Cardboard viewer for a similar experience (albeit one with less fancy optics). These methods are the most compelling; moving your head around initiates different parts of the story.\u003c/p>\n\u003cp>You don’t actually have to have a viewer at all, though, as there are two alternative ways to get inside the piece: watch it on a smartphone, which allows you to shuffle around the prison cell by toggling around your smartphone’s screen with a finger; or if you don’t have a smartphone, \u003cem>The Guardian\u003c/em> has released a 360-degree video version of the piece on the project’s webpage. These two methods won’t necessarily make you feel like you’re locked behind bars, but they do communicate the essence of the story.\u003c/p>\n\u003cp>\u003cstrong>VR in the Bay Area\u003c/strong>\u003c/p>\n\u003cp>In addition to the above, \u003cem>6×9\u003c/em> also exists as a physical installation. People who interacted with the project at the Tribeca Film Festival could explore the story while physically moving about in a model of a prison cell. Solitary confinement survivors present at the festival to share their experiences. The installation is touring, though sadly it won’t come to California anytime soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if you’d like to get more of a handle on the burgeoning world of VR storytelling — albeit from a fiction-based rather than journalistic angle — the \u003ca href=\"http://www.sffs.org/sfiff59\" target=\"_blank\" rel=\"noopener\">\u003cem>San Francisco International Film Festival\u003c/em>\u003c/a> presents a “VR Day” on Saturday, April 30 at Gray Area. The event provides an opportunity for festival goers to steep themselves in VR filmmaking and meet some of the key players in the field. For more information visit \u003ca href=\"http://www.sffs.org/sfiff59/films/vr-day#.VyKa0_krLIW\" target=\"_blank\" rel=\"noopener\">sffs.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Indie Bookstore Day Designed to Draw You In & Make You Spend",
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"content": "\u003cp>It started as California Bookstore Day in 2014, the brainchild of Samantha Schoech, a former bookseller, writer and editor, and her husband, Pete Mulvihill, the co-owner of San Francisco’s \u003ca href=\"http://www.greenapplebooks.com/\">Green Apple Books\u003c/a>. Now, independent bookstores all over the country are joining in the annual celebration of All Things Book. This year, the event is happening on Saturday, Apr. 30.\u003c/p>\n\u003cp>“We wanted to emulate \u003ca href=\"http://www.recordstoreday.com/\">Record Store Day\u003c/a>,” Schoech says. “We started with an \u003ca href=\"https://www.indiegogo.com/\">IndieGoGo\u003c/a> campaign, always with the intention of going national.” They did the next year, and a number of publishers and professional organizations became sponsors.\u003c/p>\n\u003cp>“The Bay Area community really values its bookstores, and the ‘shop local’ message,” Schoech says. Locally, there are 35 bookstores participating, from San Jose to Petaluma. You can see for yourself with this \u003ca href=\"http://indiemap.bookweb.org/\">handy map\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>More than retail\u003c/strong>\u003c/p>\n\u003cp>Today’s independent bookstore is more than a retail outlet: it’s a community center. “It’s definitely a community gathering place,” says Jean Forstner, who heads \u003ca href=\"http://www.keplers.com/PAL\">Peninsula Arts and Letters\u003c/a>, the non-profit sister organization to \u003ca href=\"http://www.keplers.com/event/independent-bookstore-day\">Kepler’s Books\u003c/a> in Menlo Park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Peninsula Arts and Letters produces Kepler’s events as well as events outside the store, including high profile author readings from people like Dave Barry, Mary Roach and Louise Erdich, as well as a steady stream of kids’ events.\u003c/p>\n\u003cp>Bookstore Day will be no exception. “We know where we live, and we know who loves to be here on Saturday mornings, and that’s families with kids,” Forstner says. “We’re going to have a big banner that kids can color. Kids can make book covers. We’re going to show kids how to make these big puffy paper things. We’re celebrating paper.”\u003c/p>\n\u003cp>\u003cstrong>Fun for all\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11536330 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/GaimanBook.jpg\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>For the grown-ups, there will be lightening round literary trivia, cookies from \u003ca href=\"https://www.facebook.com/marthaspastries/\">Martha’s Pastry Shoppe\u003c/a>, strawberry lemonade – and items for sale that must be purchased in-person at a participating bookstore on Bookstore Day. Highlights include:\u003c/p>\n\u003cul>\n\u003cul>\n\u003cli>A \u003cstrong>Neil Gaiman coloring book\u003c/strong> featuring 20 pieces of black-and-white art by Chris Riddell.\u003c/li>\n\u003cli>A\u003cstrong> stuffed Curious George\u003c/strong> wearing a t-shirt that says, “READ WITH ME.”\u003c/li>\n\u003cli>\u003cstrong>\u003cem>Anthony Bourdain’s Perfect Burger Print\u003c/em>\u003c/strong>, an illustrated guide signed by him.\u003c/li>\n\u003cli>Ann Patchett’s booklet of essays, \u003cstrong>\u003cem>A $6 Story: The Care and Feeding of an Independent Bookstore\u003c/em>\u003c/strong>, signed by her.\u003c/li>\n\u003cli>An \u003cstrong>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/26/hear-the-official-rad-american-woman-a-z-anthem/\">X is for… vinyl record\u003c/a>\u003c/strong>, companion to Kate Schatz’s book \u003cem>Rad American Women A-Z. \u003c/em>\u003c/li>\n\u003c/ul>\n\u003c/ul>\n\u003cp>Hear the \u003ca href=\"http://www.kqed.org/a/forum/R201508201000\">KQED Forum\u003c/a> interview with author Kate Schatz: \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/220150038″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>A resilient scene\u003c/strong>\u003c/p>\n\u003cp>Independent bookstores are pretty thin on the ground these days. A mass die-off followed the advent of the Internet, and then there was the advent of Amazon.com. “We lost some real institutions in the Bay Area in the 1990s and 2000s,” Schoech says. But the ones that have survived, she says, are doing well. “The doom-and gloom narrative is sort of old news.”\u003c/p>\n\u003cp>That’s especially true of San Francisco, which continues to serve as a hub for literary life on the West Coast with shops like \u003ca href=\"http://www.booksmith.com/\">Booksmith\u003c/a>, \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a>, and of course, \u003ca href=\"http://www.greenapplebooks.com/\">Green Apple\u003c/a>. All are participating in Bookstore Day, along with the independent local chain \u003ca href=\"http://www.booksinc.net/\">Books, Inc\u003c/a>.\u003c/p>\n\u003cp>But as you travel south of San Francisco, independents are thinner on the ground. Forstner says it’s not uncommon to encounter book lovers who have crossed the San Francisco Bay from Fremont to attend an event at Kepler’s. “There’s nothing in Fremont,” Forstner says. “We hear it all the time from that community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, Silicon Valley book lovers between San Carlos and Santa Cruz can visit these participating book stores:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thereadingbug.com/\">The Reading Bug\u003c/a> in San Carlos\u003c/li>\n\u003cli>\u003ca href=\"http://www.hicklebees.com/event/independent-bookstore-day\">Hicklebee’s Books\u003c/a> in San Jose\u003c/li>\n\u003cli>\u003ca href=\"https://villagehouseofbooks.com/2016/04/18/independent-bookstore-day-is-coming/\">Village House of Books\u003c/a> in Los Gatos\u003c/li>\n\u003cli>\u003ca href=\"http://mybooksmart.com/joomla/\">BookSmart\u003c/a> in Morgan Hill\u003c/li>\n\u003cli>\u003ca href=\"http://www.bookshopsantacruz.com/\">Bookshop Santa Cruz\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.logosbooksrecords.com/\">Logos Books and Records\u003c/a> in Santa Cruz\u003c/li>\n\u003cli>\u003ca href=\"http://slugstore.ucsc.edu/\">Bay Tree Bookstore\u003c/a> at UC Santa Cruz\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It started as California Bookstore Day in 2014, the brainchild of Samantha Schoech, a former bookseller, writer and editor, and her husband, Pete Mulvihill, the co-owner of San Francisco’s \u003ca href=\"http://www.greenapplebooks.com/\">Green Apple Books\u003c/a>. Now, independent bookstores all over the country are joining in the annual celebration of All Things Book. This year, the event is happening on Saturday, Apr. 30.\u003c/p>\n\u003cp>“We wanted to emulate \u003ca href=\"http://www.recordstoreday.com/\">Record Store Day\u003c/a>,” Schoech says. “We started with an \u003ca href=\"https://www.indiegogo.com/\">IndieGoGo\u003c/a> campaign, always with the intention of going national.” They did the next year, and a number of publishers and professional organizations became sponsors.\u003c/p>\n\u003cp>“The Bay Area community really values its bookstores, and the ‘shop local’ message,” Schoech says. Locally, there are 35 bookstores participating, from San Jose to Petaluma. You can see for yourself with this \u003ca href=\"http://indiemap.bookweb.org/\">handy map\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>More than retail\u003c/strong>\u003c/p>\n\u003cp>Today’s independent bookstore is more than a retail outlet: it’s a community center. “It’s definitely a community gathering place,” says Jean Forstner, who heads \u003ca href=\"http://www.keplers.com/PAL\">Peninsula Arts and Letters\u003c/a>, the non-profit sister organization to \u003ca href=\"http://www.keplers.com/event/independent-bookstore-day\">Kepler’s Books\u003c/a> in Menlo Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Peninsula Arts and Letters produces Kepler’s events as well as events outside the store, including high profile author readings from people like Dave Barry, Mary Roach and Louise Erdich, as well as a steady stream of kids’ events.\u003c/p>\n\u003cp>Bookstore Day will be no exception. “We know where we live, and we know who loves to be here on Saturday mornings, and that’s families with kids,” Forstner says. “We’re going to have a big banner that kids can color. Kids can make book covers. We’re going to show kids how to make these big puffy paper things. We’re celebrating paper.”\u003c/p>\n\u003cp>\u003cstrong>Fun for all\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11536330 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/GaimanBook.jpg\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/GaimanBook-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>For the grown-ups, there will be lightening round literary trivia, cookies from \u003ca href=\"https://www.facebook.com/marthaspastries/\">Martha’s Pastry Shoppe\u003c/a>, strawberry lemonade – and items for sale that must be purchased in-person at a participating bookstore on Bookstore Day. Highlights include:\u003c/p>\n\u003cul>\n\u003cul>\n\u003cli>A \u003cstrong>Neil Gaiman coloring book\u003c/strong> featuring 20 pieces of black-and-white art by Chris Riddell.\u003c/li>\n\u003cli>A\u003cstrong> stuffed Curious George\u003c/strong> wearing a t-shirt that says, “READ WITH ME.”\u003c/li>\n\u003cli>\u003cstrong>\u003cem>Anthony Bourdain’s Perfect Burger Print\u003c/em>\u003c/strong>, an illustrated guide signed by him.\u003c/li>\n\u003cli>Ann Patchett’s booklet of essays, \u003cstrong>\u003cem>A $6 Story: The Care and Feeding of an Independent Bookstore\u003c/em>\u003c/strong>, signed by her.\u003c/li>\n\u003cli>An \u003cstrong>\u003ca href=\"https://ww2.kqed.org/arts/2016/04/26/hear-the-official-rad-american-woman-a-z-anthem/\">X is for… vinyl record\u003c/a>\u003c/strong>, companion to Kate Schatz’s book \u003cem>Rad American Women A-Z. \u003c/em>\u003c/li>\n\u003c/ul>\n\u003c/ul>\n\u003cp>Hear the \u003ca href=\"http://www.kqed.org/a/forum/R201508201000\">KQED Forum\u003c/a> interview with author Kate Schatz: \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/220150038″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/220150038″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A resilient scene\u003c/strong>\u003c/p>\n\u003cp>Independent bookstores are pretty thin on the ground these days. A mass die-off followed the advent of the Internet, and then there was the advent of Amazon.com. “We lost some real institutions in the Bay Area in the 1990s and 2000s,” Schoech says. But the ones that have survived, she says, are doing well. “The doom-and gloom narrative is sort of old news.”\u003c/p>\n\u003cp>That’s especially true of San Francisco, which continues to serve as a hub for literary life on the West Coast with shops like \u003ca href=\"http://www.booksmith.com/\">Booksmith\u003c/a>, \u003ca href=\"http://www.citylights.com/\">City Lights\u003c/a>, and of course, \u003ca href=\"http://www.greenapplebooks.com/\">Green Apple\u003c/a>. All are participating in Bookstore Day, along with the independent local chain \u003ca href=\"http://www.booksinc.net/\">Books, Inc\u003c/a>.\u003c/p>\n\u003cp>But as you travel south of San Francisco, independents are thinner on the ground. Forstner says it’s not uncommon to encounter book lovers who have crossed the San Francisco Bay from Fremont to attend an event at Kepler’s. “There’s nothing in Fremont,” Forstner says. “We hear it all the time from that community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the meantime, Silicon Valley book lovers between San Carlos and Santa Cruz can visit these participating book stores:\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"http://www.thereadingbug.com/\">The Reading Bug\u003c/a> in San Carlos\u003c/li>\n\u003cli>\u003ca href=\"http://www.hicklebees.com/event/independent-bookstore-day\">Hicklebee’s Books\u003c/a> in San Jose\u003c/li>\n\u003cli>\u003ca href=\"https://villagehouseofbooks.com/2016/04/18/independent-bookstore-day-is-coming/\">Village House of Books\u003c/a> in Los Gatos\u003c/li>\n\u003cli>\u003ca href=\"http://mybooksmart.com/joomla/\">BookSmart\u003c/a> in Morgan Hill\u003c/li>\n\u003cli>\u003ca href=\"http://www.bookshopsantacruz.com/\">Bookshop Santa Cruz\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"http://www.logosbooksrecords.com/\">Logos Books and Records\u003c/a> in Santa Cruz\u003c/li>\n\u003cli>\u003ca href=\"http://slugstore.ucsc.edu/\">Bay Tree Bookstore\u003c/a> at UC Santa Cruz\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"title": "Macedonian Rock Star Who Sued Borat (and Won!) to Appear in Oakland",
"headTitle": "Macedonian Rock Star Who Sued Borat (and Won!) to Appear in Oakland | KQED",
"content": "\u003cp>\u003ca href=\"http://www.voiceofroma.com/culture/2016.html\" target=\"_blank\" rel=\"noopener\">Esma Redzepova\u003c/a> is a force to be reckoned with.\u003c/p>\n\u003cp>A star in her home country of Macedonia, the formidable Roma singer and activist has — over a career that has spanned more than five decades — charted a path for female performers in a country that traditionally looked down on them, earned a place on NPR’s list of the \u003ca href=\"http://www.npr.org/2011/03/08/134362778/all-50-great-voices-a-z\" target=\"_blank\" rel=\"noopener\">50 great voices\u003c/a> in the world, and adopted 49 children. (Yes, you read that right.) Oh, and she’s twice been nominated for the Nobel Peace Prize for her humanitarian efforts.\u003c/p>\n\u003cp>Now in her 70s, Redzepova heads to Oakland for a concert on Saturday, April 30, hosted by \u003ca href=\"http://www.kitka.org/images/Herdeljezi-2016-PR.pdf\" target=\"_blank\" rel=\"noopener\">Kitka\u003c/a>, the world-renowned, Bay Area-based women’s vocal ensemble that specializes in performing Eastern European music. It’s the culminating stop on Redzepova’s latest U.S. tour, after which the singer says she’ll stop performing overseas.\u003c/p>\n\u003cp>But few believe Redzepova will slow down anytime soon.\u003c/p>\n\u003cp>The fact is, it’s hard to imagine this fiery, flamboyant performer ever stopping for a moment to rest. On stage, she exudes a fun-loving energy — a full-on presence in her signature flowing, colorful robe and headdress. And then there’s that \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125580636\" target=\"_blank\" rel=\"noopener\">unmistakable voice\u003c/a>, which with its fulsome range and sweet-raspy timbre, blurs joy and pain.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mahala Rai Banda feat. Esma Redzepova | Chaje Shukarije |\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/nUBmm45H43o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>She’s also composed countless songs about the experience of the Roma people, chronicling true-life stories about such themes as arranged marriages, poverty, and forced separation from loved ones. The World Romani Congress bestowed upon Redzepova the title “The Queen of Romani Music” in 1976, and she’s effortlessly held on to it ever since.\u003c/p>\n\u003cp>“Esma Redzepova developed a signature style featuring heavy ornamentation and expressive emotion, plus wrote dozens of songs that are still sung today in the Balkans,” says \u003ca href=\"http://anthropology.uoregon.edu/profile/csilverm/\" target=\"_blank\" rel=\"noopener\">Carol Silverman\u003c/a>, professor of anthropology and folklore at the University of Oregon and an expert on Balkan Romani culture. “She is truly a legend all over Eastern Europe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=zZIyBzrKFcA&list=PLjg4dBFonYV-IvDahYKsmzMEtjiaqBVQ5&index=2\">https://www.youtube.com/watch?v=zZIyBzrKFcA&list=PLjg4dBFonYV-IvDahYKsmzMEtjiaqBVQ5&index=2\u003c/a>\u003c/p>\n\u003cp>Offstage, Redzepova’s not messing around either. For centuries, prejudice against Roma people — or “gypsies,” as they’re derogatively known — has run deep. According to Silverman, since the 1990s, the 10-12 million Roma people living in Europe have experienced growing levels of harassment, violence and poverty. “There has been a rise in scapegoating and violence against them,” Silverman says.\u003c/p>\n\u003cp>Born into a poor Muslim family in Skopje, Macedonia in 1945, Redzepova has risen to become a tireless advocate for Roma rights and rehabilitation. One important project is the development of a “Home of Humanity and Museum of Romani Music” in the artist’s residence in Skopje. The facility, scheduled to open in September of this year, will include an archive, recording studio and food and medical services for underserved communities.\u003c/p>\n\u003cp>And the singer has even taken on Hollywood in her effort to raise the profile of her people. After the release of the 2006 satire \u003cem>Borat\u003c/em>, Redzepova sued over the film’s use of her music. And \u003ca href=\"http://macedoniaonline.eu/content/view/7678/19/\" target=\"_blank\" rel=\"noopener\">won\u003c/a>. The movie soundtrack makes use of Redzepova’s hit song “Čaje Šukarije” (“Beautiful Girl”), and the singer apparently wasn’t fully consulted about the use of the track. More fundamentally, Silverman says the artist was upset about the use of her music in a movie that denigrates Roma village life with its scenes of bestiality and incest.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"01. Borat - Chaje Shukarijie (OST)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/fOnRVMUnCiI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In any case, Redzepova’s upcoming appearance in Oakland as part of the 19th Annual California Herdeljezi Festival is likely to put any weird, lingering ideas about Roma life to rest, and show just how amazing the performer is at this advanced stage of her career. More than a simple gig, Redzepova hosts a pre-concert music workshop as well as a post-concert dance party. She might out-dance us all.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Esma Redzepova and the Folk Masters Band perform at the 19th Annual California Herdeljezi Festival on Saturday, April 30, at the First Congregational Church of Oakland. \u003ca href=\"http://www.kitka.org/calendar/index.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.voiceofroma.com/culture/2016.html\" target=\"_blank\" rel=\"noopener\">Esma Redzepova\u003c/a> is a force to be reckoned with.\u003c/p>\n\u003cp>A star in her home country of Macedonia, the formidable Roma singer and activist has — over a career that has spanned more than five decades — charted a path for female performers in a country that traditionally looked down on them, earned a place on NPR’s list of the \u003ca href=\"http://www.npr.org/2011/03/08/134362778/all-50-great-voices-a-z\" target=\"_blank\" rel=\"noopener\">50 great voices\u003c/a> in the world, and adopted 49 children. (Yes, you read that right.) Oh, and she’s twice been nominated for the Nobel Peace Prize for her humanitarian efforts.\u003c/p>\n\u003cp>Now in her 70s, Redzepova heads to Oakland for a concert on Saturday, April 30, hosted by \u003ca href=\"http://www.kitka.org/images/Herdeljezi-2016-PR.pdf\" target=\"_blank\" rel=\"noopener\">Kitka\u003c/a>, the world-renowned, Bay Area-based women’s vocal ensemble that specializes in performing Eastern European music. It’s the culminating stop on Redzepova’s latest U.S. tour, after which the singer says she’ll stop performing overseas.\u003c/p>\n\u003cp>But few believe Redzepova will slow down anytime soon.\u003c/p>\n\u003cp>The fact is, it’s hard to imagine this fiery, flamboyant performer ever stopping for a moment to rest. On stage, she exudes a fun-loving energy — a full-on presence in her signature flowing, colorful robe and headdress. And then there’s that \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=125580636\" target=\"_blank\" rel=\"noopener\">unmistakable voice\u003c/a>, which with its fulsome range and sweet-raspy timbre, blurs joy and pain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Mahala Rai Banda feat. Esma Redzepova | Chaje Shukarije |\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/nUBmm45H43o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>She’s also composed countless songs about the experience of the Roma people, chronicling true-life stories about such themes as arranged marriages, poverty, and forced separation from loved ones. The World Romani Congress bestowed upon Redzepova the title “The Queen of Romani Music” in 1976, and she’s effortlessly held on to it ever since.\u003c/p>\n\u003cp>“Esma Redzepova developed a signature style featuring heavy ornamentation and expressive emotion, plus wrote dozens of songs that are still sung today in the Balkans,” says \u003ca href=\"http://anthropology.uoregon.edu/profile/csilverm/\" target=\"_blank\" rel=\"noopener\">Carol Silverman\u003c/a>, professor of anthropology and folklore at the University of Oregon and an expert on Balkan Romani culture. “She is truly a legend all over Eastern Europe.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=zZIyBzrKFcA&list=PLjg4dBFonYV-IvDahYKsmzMEtjiaqBVQ5&index=2\">https://www.youtube.com/watch?v=zZIyBzrKFcA&list=PLjg4dBFonYV-IvDahYKsmzMEtjiaqBVQ5&index=2\u003c/a>\u003c/p>\n\u003cp>Offstage, Redzepova’s not messing around either. For centuries, prejudice against Roma people — or “gypsies,” as they’re derogatively known — has run deep. According to Silverman, since the 1990s, the 10-12 million Roma people living in Europe have experienced growing levels of harassment, violence and poverty. “There has been a rise in scapegoating and violence against them,” Silverman says.\u003c/p>\n\u003cp>Born into a poor Muslim family in Skopje, Macedonia in 1945, Redzepova has risen to become a tireless advocate for Roma rights and rehabilitation. One important project is the development of a “Home of Humanity and Museum of Romani Music” in the artist’s residence in Skopje. The facility, scheduled to open in September of this year, will include an archive, recording studio and food and medical services for underserved communities.\u003c/p>\n\u003cp>And the singer has even taken on Hollywood in her effort to raise the profile of her people. After the release of the 2006 satire \u003cem>Borat\u003c/em>, Redzepova sued over the film’s use of her music. And \u003ca href=\"http://macedoniaonline.eu/content/view/7678/19/\" target=\"_blank\" rel=\"noopener\">won\u003c/a>. The movie soundtrack makes use of Redzepova’s hit song “Čaje Šukarije” (“Beautiful Girl”), and the singer apparently wasn’t fully consulted about the use of the track. More fundamentally, Silverman says the artist was upset about the use of her music in a movie that denigrates Roma village life with its scenes of bestiality and incest.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"01. Borat - Chaje Shukarijie (OST)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/fOnRVMUnCiI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In any case, Redzepova’s upcoming appearance in Oakland as part of the 19th Annual California Herdeljezi Festival is likely to put any weird, lingering ideas about Roma life to rest, and show just how amazing the performer is at this advanced stage of her career. More than a simple gig, Redzepova hosts a pre-concert music workshop as well as a post-concert dance party. She might out-dance us all.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Esma Redzepova and the Folk Masters Band perform at the 19th Annual California Herdeljezi Festival on Saturday, April 30, at the First Congregational Church of Oakland. \u003ca href=\"http://www.kitka.org/calendar/index.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comcast is buying DreamWorks Animation, the film company behind the \u003cem>Shrek\u003c/em>, \u003cem>Madagascar\u003c/em> and \u003cem>Kung Fu Panda\u003c/em> franchises, for approximately $3.55 billion, strengthening its presence in the important and growing business of children’s entertainment.\u003c/p>\n\u003cp>DreamWorks stockholders will receive $41 for each share they own. That’s a 24 percent premium to the company’s Wednesday closing price of $32.20. The companies put the deal’s value at about $3.8 billion.\u003c/p>\n\u003cp>DreamWorks will become part of the Universal Filmed Entertainment Group, which includes Universal Pictures. The studio has churned out hit animated movies through its Illumination label, including the \u003cem>Minions \u003c/em>sequel and it has some Dr. Seuss projects in the works such as \u003cem>How the Grinch Stole Christmas\u003c/em>.\u003c/p>\n\u003cp>The nation’s largest cable company said the deal gives NBCUniversal, a unit of Comcast Corp., a “broader reach to a host of new audiences in the highly competitive kids and family entertainment space, in both TV and film.” In addition to the cartoon franchises, DreamWorks also owns what Comcast called a “thriving TV operation” with its AwesomenessTV network of online video creators and a lengthy contract to create shows for Netflix.\u003c/p>\n\u003cp>The deal solves what Cowen and Co. analyst Doug Creutz “would have been a very difficult succession plan had DWA remained independent, as to a certain extent we think the company had been held together purely through (CEO Jeffrey) Katzenberg’s force of will.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The analyst said that while he is “skeptical about the strategic logic” for Comcast in inking the deal, it is an excellent one for DreamWorks.\u003c/p>\n\u003cp>“Despite some positive recent developments with TV production and the Awesomeness asset, DWA remains a company that has not generated significant earnings since 2010,” Creutz wrote. “We think DWA is worth far less than either Marvel or Lucasfilm, for which Disney paid comparable prices when they acquired those companies.”\u003c/p>\n\u003cp>Once the deal closes, DreamWorks co-founder and CEO Katzenberg will become chairman of DreamWorks New Media. He’ll also serve as a consultant to NBCUniversal. Creutz called it a “happy exit.” Katzenberg owned nearly 10 million shares — meaning he’ll receive over $400 million — and controlled 60 percent of the voting shares in the company, which spun off from DreamWorks Pictures as a publicly traded company in 2004. DreamWorks Pictures, backed by Steven Spielberg, produces live action movies like “Bridge of Spies” and is not part of the deal.\u003c/p>\n\u003cp>Earlier this year, DreamWorks expanded a licensing deal with Netflix Inc. to have the online video service feature more of its series and movies. The expanded licensing agreement announced in January allows Netflix to showcase several new DreamWorks series, including “Trollhunters,” a fantasy created by acclaimed movie director Guillermo del Toro. The deal gives Netflix more video likely to appeal to children, an audience segment that has played an important role in its growing its service to 81.5 million subscribers in the first quarter.\u003c/p>\n\u003cp>The boards of both Comcast and DreamWorks have approved the transaction, which is targeted to close by year’s end.\u003c/p>\n\u003cp>Shares of DreamWorks Animation SKG Inc. leapt $7.76, or 24 percent, to $39.97 while Comcast added 9 cents to $61.39 in afternoon trading.\u003c/p>\n\u003cp>______\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comcast is buying DreamWorks Animation, the film company behind the \u003cem>Shrek\u003c/em>, \u003cem>Madagascar\u003c/em> and \u003cem>Kung Fu Panda\u003c/em> franchises, for approximately $3.55 billion, strengthening its presence in the important and growing business of children’s entertainment.\u003c/p>\n\u003cp>DreamWorks stockholders will receive $41 for each share they own. That’s a 24 percent premium to the company’s Wednesday closing price of $32.20. The companies put the deal’s value at about $3.8 billion.\u003c/p>\n\u003cp>DreamWorks will become part of the Universal Filmed Entertainment Group, which includes Universal Pictures. The studio has churned out hit animated movies through its Illumination label, including the \u003cem>Minions \u003c/em>sequel and it has some Dr. Seuss projects in the works such as \u003cem>How the Grinch Stole Christmas\u003c/em>.\u003c/p>\n\u003cp>The nation’s largest cable company said the deal gives NBCUniversal, a unit of Comcast Corp., a “broader reach to a host of new audiences in the highly competitive kids and family entertainment space, in both TV and film.” In addition to the cartoon franchises, DreamWorks also owns what Comcast called a “thriving TV operation” with its AwesomenessTV network of online video creators and a lengthy contract to create shows for Netflix.\u003c/p>\n\u003cp>The deal solves what Cowen and Co. analyst Doug Creutz “would have been a very difficult succession plan had DWA remained independent, as to a certain extent we think the company had been held together purely through (CEO Jeffrey) Katzenberg’s force of will.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The analyst said that while he is “skeptical about the strategic logic” for Comcast in inking the deal, it is an excellent one for DreamWorks.\u003c/p>\n\u003cp>“Despite some positive recent developments with TV production and the Awesomeness asset, DWA remains a company that has not generated significant earnings since 2010,” Creutz wrote. “We think DWA is worth far less than either Marvel or Lucasfilm, for which Disney paid comparable prices when they acquired those companies.”\u003c/p>\n\u003cp>Once the deal closes, DreamWorks co-founder and CEO Katzenberg will become chairman of DreamWorks New Media. He’ll also serve as a consultant to NBCUniversal. Creutz called it a “happy exit.” Katzenberg owned nearly 10 million shares — meaning he’ll receive over $400 million — and controlled 60 percent of the voting shares in the company, which spun off from DreamWorks Pictures as a publicly traded company in 2004. DreamWorks Pictures, backed by Steven Spielberg, produces live action movies like “Bridge of Spies” and is not part of the deal.\u003c/p>\n\u003cp>Earlier this year, DreamWorks expanded a licensing deal with Netflix Inc. to have the online video service feature more of its series and movies. The expanded licensing agreement announced in January allows Netflix to showcase several new DreamWorks series, including “Trollhunters,” a fantasy created by acclaimed movie director Guillermo del Toro. The deal gives Netflix more video likely to appeal to children, an audience segment that has played an important role in its growing its service to 81.5 million subscribers in the first quarter.\u003c/p>\n\u003cp>The boards of both Comcast and DreamWorks have approved the transaction, which is targeted to close by year’s end.\u003c/p>\n\u003cp>Shares of DreamWorks Animation SKG Inc. leapt $7.76, or 24 percent, to $39.97 while Comcast added 9 cents to $61.39 in afternoon trading.\u003c/p>\n\u003cp>______\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Source: Investigators Looking into Whether Prince Died of an Overdose",
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"content": "\u003cp>Investigators are looking into whether Prince died from an overdose and whether a doctor was prescribing him drugs in the weeks before he was found dead at his home in suburban Minneapolis, a law enforcement official told The Associated Press on Thursday.\u003c/p>\n\u003cp>The official said that among the things investigators are looking at is whether a doctor was with Prince on a plane that made an emergency landing in Illinois less than a week before the star died.\u003c/p>\n\u003cp>The law enforcement official has been briefed on the investigation and spoke to the AP on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>The official said investigators are also looking into what kind of drugs were on the plane and at Prince’s house in suburban Minneapolis.\u003c/p>\n\u003cp>The official also confirmed some details that have previously been reported by other media outlets, including TMZ.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince’s plane made an emergency stop in Moline, in western Illinois, on April 15 and he was found unconscious on the plane, the official said. The person said first responders gave Prince a shot of Narcan, which is used in suspected opioid overdoses. The official said the so-called save shot was given when the plane was on the tarmac in Moline as Prince returned to Minneapolis following a performance in Atlanta.\u003c/p>\n\u003cp>The official said investigators are looking at whether Prince overdosed on the plane and whether an overdose killed him, and at what kind of drugs were involved. One possibility is the powerful painkiller Percocet or something similar, the official said.\u003c/p>\n\u003cp>Narcan can be used on people even if an overdose isn’t confirmed because it wouldn’t necessarily be harmful.\u003c/p>\n\u003cp>While it’s premature to say where the investigation is heading, the mention of a doctor calls to mind other celebrity deaths, including Michael Jackson’s. Jackson’s doctor, Conrad Murray, was convicted of involuntary manslaughter for his role in prescribing a powerful anesthetic that contributed to the pop star’s death in 2009.\u003c/p>\n\u003cp>A second law enforcement official told AP that prescription drugs were discovered at Prince’s home when the musician was found dead on April 21.\u003c/p>\n\u003cp>That official spoke on condition of anonymity because the person was not authorized to speak about the ongoing investigation into Prince’s death. The official did not elaborate. An autopsy has been performed, but results aren’t expected for three to four weeks. The search warrant for Prince’s Paisley Park home and studio — carried out the day of his death — was filed Thursday under seal at the request of investigators who said it would hamper their investigation if contents were public.\u003c/p>\n\u003cp>An affidavit in support of sealing the warrant, signed by Carver County Chief Deputy Jason Kamerud, also warned that disclosing details in the warrant could cause “the search or related searches to be unsuccessful” and risk injury to innocent people.\u003c/p>\n\u003cp>Kamerud declined to comment Thursday on the reports of drugs found at Paisley Park, and told AP that he strongly disputed reports by several media outlets that investigators had asked the U.S. Drug Enforcement Administration for help in the case.\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Kamerud said. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\u003cp>Leo Hawkins, a DEA spokesman in Chicago, said he had no comment.\u003c/p>\n\u003cp>Prince’s death came two weeks after he canceled concerts in Atlanta, saying he wasn’t feeling well. He played a pair of makeup shows April 14 in that city. Prince was scheduled to perform two shows in St. Louis but canceled them shortly before his death due to health concerns.\u003c/p>\n\u003cp>Longtime friend and collaborator Sheila E. has told the AP that Prince had physical issues from performing, citing hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Tarm reported from Chicago. Tucker reported from Washington, D.C.\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>Investigators are looking into whether Prince died from an overdose and whether a doctor was prescribing him drugs in the weeks before he was found dead at his home in suburban Minneapolis, a law enforcement official told The Associated Press on Thursday.\u003c/p>\n\u003cp>The official said that among the things investigators are looking at is whether a doctor was with Prince on a plane that made an emergency landing in Illinois less than a week before the star died.\u003c/p>\n\u003cp>The law enforcement official has been briefed on the investigation and spoke to the AP on condition of anonymity because he was not authorized to speak to the media.\u003c/p>\n\u003cp>The official said investigators are also looking into what kind of drugs were on the plane and at Prince’s house in suburban Minneapolis.\u003c/p>\n\u003cp>The official also confirmed some details that have previously been reported by other media outlets, including TMZ.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince’s plane made an emergency stop in Moline, in western Illinois, on April 15 and he was found unconscious on the plane, the official said. The person said first responders gave Prince a shot of Narcan, which is used in suspected opioid overdoses. The official said the so-called save shot was given when the plane was on the tarmac in Moline as Prince returned to Minneapolis following a performance in Atlanta.\u003c/p>\n\u003cp>The official said investigators are looking at whether Prince overdosed on the plane and whether an overdose killed him, and at what kind of drugs were involved. One possibility is the powerful painkiller Percocet or something similar, the official said.\u003c/p>\n\u003cp>Narcan can be used on people even if an overdose isn’t confirmed because it wouldn’t necessarily be harmful.\u003c/p>\n\u003cp>While it’s premature to say where the investigation is heading, the mention of a doctor calls to mind other celebrity deaths, including Michael Jackson’s. Jackson’s doctor, Conrad Murray, was convicted of involuntary manslaughter for his role in prescribing a powerful anesthetic that contributed to the pop star’s death in 2009.\u003c/p>\n\u003cp>A second law enforcement official told AP that prescription drugs were discovered at Prince’s home when the musician was found dead on April 21.\u003c/p>\n\u003cp>That official spoke on condition of anonymity because the person was not authorized to speak about the ongoing investigation into Prince’s death. The official did not elaborate. An autopsy has been performed, but results aren’t expected for three to four weeks. The search warrant for Prince’s Paisley Park home and studio — carried out the day of his death — was filed Thursday under seal at the request of investigators who said it would hamper their investigation if contents were public.\u003c/p>\n\u003cp>An affidavit in support of sealing the warrant, signed by Carver County Chief Deputy Jason Kamerud, also warned that disclosing details in the warrant could cause “the search or related searches to be unsuccessful” and risk injury to innocent people.\u003c/p>\n\u003cp>Kamerud declined to comment Thursday on the reports of drugs found at Paisley Park, and told AP that he strongly disputed reports by several media outlets that investigators had asked the U.S. Drug Enforcement Administration for help in the case.\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Kamerud said. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\u003cp>Leo Hawkins, a DEA spokesman in Chicago, said he had no comment.\u003c/p>\n\u003cp>Prince’s death came two weeks after he canceled concerts in Atlanta, saying he wasn’t feeling well. He played a pair of makeup shows April 14 in that city. Prince was scheduled to perform two shows in St. Louis but canceled them shortly before his death due to health concerns.\u003c/p>\n\u003cp>Longtime friend and collaborator Sheila E. has told the AP that Prince had physical issues from performing, citing hip and knee problems that she said came from years of jumping off risers and stage speakers in heels.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Tarm reported from Chicago. Tucker reported from Washington, D.C.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160429.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 29 -May 1: \u003c/strong> Pianist \u003ca href=\"http://abdullahibrahim.co.za/\" target=\"_blank\" rel=\"noopener\">Abdullah Ibrahim\u003c/a>, once nicknamed Dollar Brand, is a pioneer of Cape Jazz, as in Cape Town, South Africa, where he grew up. His song “Mannenberg” (you’ll know it when you hear it) became the unofficial anthem of the Anti-Apartheid movement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hiQ0uyqySBg\u003cbr>\nNelson Mandela called Ibrahim “South Africa’s Mozart.” He got his first recording gig after Duke Ellington saw him in Europe and championed his music. And he even led the Ellington Orchestra a few times in the 1960’s. He’s still making gorgeous music, so no excuse if you miss this 81 year old master at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> this weekend. We won’t get many more chances. Details \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/57729188\u003c/p>\n\u003cp>\u003cstrong>April 30: \u003c/strong>\u003ca href=\"http://www.erikjekabson.com/bio/\" target=\"_blank\" rel=\"noopener\">Erik Jekabson\u003c/a> is one of the Bay Area’s indispensable session players. I caught him a few weeks ago backing Natalie Cressman in her gig at SFJAZZ, and he offered impeccable support and artfully shaped solos. He’s leading his Stringtet Saturday at the \u003ca href=\"http://musicallyminded.org/\" target=\"_blank\" rel=\"noopener\">Musically Minded Academy\u003c/a> in Oakland’s Rockridge, and you won’t find a more tasteful evening of jazz. Details \u003ca href=\"http://musicallyminded.org/events/category/professional_concerts/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q6WsKQrAHVg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 6 – May 29:\u003c/strong> There’s so much good theater right now in the Bay Area, but here’s another show you have to make time for, \u003cem>The Most Dangerous Highway in the World\u003c/em> by Kevin Artigue, the opening show for \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">Golden Thread’s \u003c/a>new season. The play is inspired by a \u003cem>New York Times\u003c/em> article about an Afghan boy who helps direct traffic with a plastic Pepsi bottle on a mountain highway in Afghanistan in return for tips from long haul truckers and American soldiers. Details \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pOB4YD7iZDA\u003c/p>\n\u003cp>\u003cstrong>May 4 – June 26:\u003c/strong> \u003ca href=\"http://cypressquartet.com/\" target=\"_blank\" rel=\"noopener\">The Cypress String Quartet\u003c/a> set out 20 years ago to play and record all of Beethoven’s string quartets (with a few detours for some modern composers). Now that they’re done, they’re disbanding. It’s not, said cellist Jennifer Kloetzel, that they aren’t still finding fresh insights into Beethoven’s amazing cycle of quartets: “My colleagues tease me and say Beethoven is like your boyfriend, because I’m so obsessed with how he dug very deep. I can perform one of these quartets hundreds of times and always find something new in it.”\u003c/p>\n\u003cp>But Kloetzel said she and the other members (Cecily Ward, violin; Tom Stone, violin; Ethan Filner, viola) have other projects they want to pursue. Still they’re going out like “Thelma and Louise, full speed ahead,” with a series of free concerts in every district of San Francisco, the quartet’s home, plus ticketed concerts in Napa, Berkeley and Palo Alto. Details for this lovely parting gift are \u003ca href=\"http://cypressquartet.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8XW7fFUnggo\u003c/p>\n\u003cp>\u003cstrong>May 5: \u003c/strong>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> had a world premiere earlier this year — they mounted the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/oakland-school-premiering-webber-penned-school-of-rock-production/\" target=\"_blank\" rel=\"noopener\">very first amateur production of the Broadway hit School of Rock\u003c/a>. And now the 120 students in the OSA’s School of Vocal Music are putting on their own show. The theme is Identity, a big deal for any high-schooler. The difference is these kids can really sing, and dance. I caught a contingent of the Vocal Music students recently doing a song from the Broadway show \u003cem>Fun Home\u003c/em>, and they just about broke my heart. Details for their show at The Fox in Oakland are\u003ca href=\"https://www.facebook.com/events/788144131315539/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pmgBdqsOwLo\u003c/p>\n\u003cp>\u003cstrong>May 2\u003c/strong>: Echo Park’s \u003ca href=\"https://www.facebook.com/HelloBleached\" target=\"_blank\" rel=\"noopener\">Bleached \u003c/a>have been described as “Evil Go-Go’s, and their new album is \u003ca href=\"http://www.latimes.com/entertainment/music/la-ca-ms-bleached-20160403-1-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Welcome the Worms\u003c/em>\u003c/a>, which I guess is a graveyard expression suggesting we all embrace the darkness of life. But you can hear a hint of sunnier West Coast pop peeking through the punk negativity. Sisters Jennifer and Jessica Clavin formerly of the Mika Miko, bassist Micayla Grace, and drummer Mark Jordan play with extraordinary energy. Definitely a \u003cstrong>Cheap Thrill.\u003c/strong> Details for Bleached’s \u003ca href=\"http://www.bottomofthehill.com/20160502.html#.VyEqivkrKJA\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill gig are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>April 29 -May 1: \u003c/strong> Pianist \u003ca href=\"http://abdullahibrahim.co.za/\" target=\"_blank\" rel=\"noopener\">Abdullah Ibrahim\u003c/a>, once nicknamed Dollar Brand, is a pioneer of Cape Jazz, as in Cape Town, South Africa, where he grew up. His song “Mannenberg” (you’ll know it when you hear it) became the unofficial anthem of the Anti-Apartheid movement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hiQ0uyqySBg\u003cbr>\nNelson Mandela called Ibrahim “South Africa’s Mozart.” He got his first recording gig after Duke Ellington saw him in Europe and championed his music. And he even led the Ellington Orchestra a few times in the 1960’s. He’s still making gorgeous music, so no excuse if you miss this 81 year old master at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> this weekend. We won’t get many more chances. Details \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 30: \u003c/strong>\u003ca href=\"http://www.erikjekabson.com/bio/\" target=\"_blank\" rel=\"noopener\">Erik Jekabson\u003c/a> is one of the Bay Area’s indispensable session players. I caught him a few weeks ago backing Natalie Cressman in her gig at SFJAZZ, and he offered impeccable support and artfully shaped solos. He’s leading his Stringtet Saturday at the \u003ca href=\"http://musicallyminded.org/\" target=\"_blank\" rel=\"noopener\">Musically Minded Academy\u003c/a> in Oakland’s Rockridge, and you won’t find a more tasteful evening of jazz. Details \u003ca href=\"http://musicallyminded.org/events/category/professional_concerts/\" target=\"_blank\" rel=\"noopener\">here\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/q6WsKQrAHVg'\n title='//www.youtube.com/embed/q6WsKQrAHVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>May 6 – May 29:\u003c/strong> There’s so much good theater right now in the Bay Area, but here’s another show you have to make time for, \u003cem>The Most Dangerous Highway in the World\u003c/em> by Kevin Artigue, the opening show for \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">Golden Thread’s \u003c/a>new season. The play is inspired by a \u003cem>New York Times\u003c/em> article about an Afghan boy who helps direct traffic with a plastic Pepsi bottle on a mountain highway in Afghanistan in return for tips from long haul truckers and American soldiers. Details \u003ca href=\"http://www.goldenthread.org/2016-season/\" target=\"_blank\" rel=\"noopener\">here.\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/pOB4YD7iZDA'\n title='//www.youtube.com/embed/pOB4YD7iZDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 4 – June 26:\u003c/strong> \u003ca href=\"http://cypressquartet.com/\" target=\"_blank\" rel=\"noopener\">The Cypress String Quartet\u003c/a> set out 20 years ago to play and record all of Beethoven’s string quartets (with a few detours for some modern composers). Now that they’re done, they’re disbanding. It’s not, said cellist Jennifer Kloetzel, that they aren’t still finding fresh insights into Beethoven’s amazing cycle of quartets: “My colleagues tease me and say Beethoven is like your boyfriend, because I’m so obsessed with how he dug very deep. I can perform one of these quartets hundreds of times and always find something new in it.”\u003c/p>\n\u003cp>But Kloetzel said she and the other members (Cecily Ward, violin; Tom Stone, violin; Ethan Filner, viola) have other projects they want to pursue. Still they’re going out like “Thelma and Louise, full speed ahead,” with a series of free concerts in every district of San Francisco, the quartet’s home, plus ticketed concerts in Napa, Berkeley and Palo Alto. Details for this lovely parting gift are \u003ca href=\"http://cypressquartet.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\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/8XW7fFUnggo'\n title='//www.youtube.com/embed/8XW7fFUnggo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 5: \u003c/strong>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> had a world premiere earlier this year — they mounted the \u003ca href=\"http://ww2.kqed.org/arts/2016/03/01/oakland-school-premiering-webber-penned-school-of-rock-production/\" target=\"_blank\" rel=\"noopener\">very first amateur production of the Broadway hit School of Rock\u003c/a>. And now the 120 students in the OSA’s School of Vocal Music are putting on their own show. The theme is Identity, a big deal for any high-schooler. The difference is these kids can really sing, and dance. I caught a contingent of the Vocal Music students recently doing a song from the Broadway show \u003cem>Fun Home\u003c/em>, and they just about broke my heart. Details for their show at The Fox in Oakland are\u003ca href=\"https://www.facebook.com/events/788144131315539/\" target=\"_blank\" rel=\"noopener\"> here.\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/pmgBdqsOwLo'\n title='//www.youtube.com/embed/pmgBdqsOwLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 2\u003c/strong>: Echo Park’s \u003ca href=\"https://www.facebook.com/HelloBleached\" target=\"_blank\" rel=\"noopener\">Bleached \u003c/a>have been described as “Evil Go-Go’s, and their new album is \u003ca href=\"http://www.latimes.com/entertainment/music/la-ca-ms-bleached-20160403-1-story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Welcome the Worms\u003c/em>\u003c/a>, which I guess is a graveyard expression suggesting we all embrace the darkness of life. But you can hear a hint of sunnier West Coast pop peeking through the punk negativity. Sisters Jennifer and Jessica Clavin formerly of the Mika Miko, bassist Micayla Grace, and drummer Mark Jordan play with extraordinary energy. Definitely a \u003cstrong>Cheap Thrill.\u003c/strong> Details for Bleached’s \u003ca href=\"http://www.bottomofthehill.com/20160502.html#.VyEqivkrKJA\" target=\"_blank\" rel=\"noopener\">Bottom of the Hill gig are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens when you Cast 'Hamlet' by Pulling Names out of Yorick's Skull",
"headTitle": "What Happens when you Cast ‘Hamlet’ by Pulling Names out of Yorick’s Skull | KQED",
"content": "\u003cp>Behind the character of Shakespeare’s Hamlet is a line of thousands of actors. They have come to him over and over again, as if he were less a role to play than an artistic pilgrimage. We speak of Olivier’s Hamlet, Burton’s Hamlet, Gielgud’s Hamlet, Richardson’s, Berkoff’s, Kline’s, Hawkes’, Branagh’s, Cumberbatch’s…the list goes on. And we even speak with regret of the Hamlets that \u003cem>might have been\u003c/em>: Brando’s, Dean’s, Welles’. We dream of them all, if only to toss them aside as likely to have come up short.\u003c/p>\n\u003cp>Yet Hamlet will have none of it. The most definitive character of the Western canon is also the most elusive. Every attempt seems a gloss — an approximation of the real thing. And so Shakespeare’s \u003cem>Hamlet\u003c/em> has always seemed more of an actor’s play than a director’s; more about an ambitious actor confronting an impossible role than the personal and political struggles of one royal family in Denmark. As a weeping teenager said to me after a rather pedestrian production, “we have lost a beautiful soul.” One might add, that we have lost all the souls determined to bring that soul to life. Enter the graveyard and behold the ghosts. It’s a crowded field.\u003c/p>\n\u003cp>Mark Jackson knows that. The director and conceptual wizard behind the Shotgun Players’ uplifting and weirdly affecting \u003cem>Hamlet\u003c/em> once performed a version of the play, \u003cem>I am Hamlet\u003c/em>, in which Hamlet played all the roles himself.\u003c/p>\n\u003cp>Here, Jackson reverses the equation. Announcing before the performance begins to the audience that the actors have no idea who they’re going to play — and in fact no one does, not even the director himself — he invites the cast of seven on stage. The actors run out with the peppy bonhomie of game show contestants, line up in a row before us, and wait. Who will play Hamlet? And for that matter Claudius, Ophelia, Polonius, Laertes? Jackson pulls the cast list out of Yorick’s skull and assigns the parts one by one. It’s a goofy, curiously intense moment.\u003c/p>\n\u003cfigure id=\"attachment_11528061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg\" alt=\"(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo:\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>You immediately notice that there isn’t a conventional Hamlet in the cast. They are a wonderfully eclectic bunch: men and women, a smattering of ages and races, and, if you follow Bay Area performers, even different acting styles. So the first move Jackson makes in this \u003cem>Hamlet\u003c/em> is both to play up and side step the drama of playing Hamlet. There will be a confrontation between actor and role, but one unknown until the very last moment. And this is the rub: what is true for Hamlet will now be true for all the other roles as well. We are plunged into a democracy of infinite possibilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Is that gray-haired man capable of playing the young and tragic Ophelia? Can that young woman possibly understand what it means to be Polonius, an aging stooge to the king? What would an African-American woman bring to Hamlet or Hamlet to her? Every role becomes a question and every cast member an uncertain answer. Even talent, at least how we normally perceive it, loses meaning in this production. Instead, the question becomes one of qualities: how does this particular person, unlikely or perfectly cast, transform the character and, most importantly, the play?\u003c/p>\n\u003cp>Nick Medina, a revelation all three nights I saw him, opens up aspects of \u003cem>Hamlet\u003c/em> that are often unrealized. I always thought of Gertrude as cold, not compassionate. Yet watch him tear up, not showily, when his character watches Ophelia go mad, or his shock when Gertrude realizes that Claudius has no feeling for her son. Here is a young man’s body, wild and forceful, giving subtle expression to the half-formed fears of a middle-aged woman.\u003c/p>\n\u003cfigure id=\"attachment_11528072\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528072 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg\" alt=\"Hamlet\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude and Nick Medina as Claudius. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>And on a different night that same body takes on Ophelia, so that when she goes mad, Medina unleashes a shocking male physicality into Ophelia’s rage. It feels as if she’s being played by a wrestler and it not only works, but it also feels true. We don’t lose the fact that Ophelia’s a young woman, but instead gain the expressive force of brute male strength. I thought he would destroy her costume.\u003c/p>\n\u003cp>Other actors provide similar chameleon thrills. Kevin Clarke makes for a passionate and precise Hamlet. It’s a thrilling performance. And the next night, he brings those same qualities to Laertes and it unleashes a crazy energy into the production. Beth Wilmurt slips so easily into Polonius that you have to keep reminding yourself that the character is not a woman. So that when he warns Ophelia of the dangers in falling in love with Hamlet, you can’t help but feel that Wilmurt is talking to a younger version of herself — that she once was Ophelia, and ironically in this production, still might be.\u003c/p>\n\u003cp>The play begins with a ghost. But see the play three times in a row as I did, and it feels as if the entire cast has a touch of the dead and missing about them. Wasn’t Clarke Hamlet’s father the day before he played Hamlet? Megan Trout’s commanding Claudius has strong traces of her equally regal Gertrude. In playing Polonius, Laertes, and Ophelia over successive nights, Cathleen Riddley sketches a beautiful portrait of a most unfortunate family, all victims of Hamlet’s rage. Cast her to type and she would have been the missing wife and mother that the play never mentions.\u003c/p>\n\u003cfigure id=\"attachment_11528068\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/6-800x533.jpg\" alt=\"Hamlet\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude, Nick Medina as Claudius, Cathleen Riddley as Ophelia, and Megan Trout as Laertes. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>There are only seven actors in this production, but they produce scores of ghosts, doppelgangers, and strange memories of themselves. It’s a beautiful effect and a unique and rich response to the play.\u003c/p>\n\u003cp>But given the amount of daring, skill, energy, and focus it must have taken to produce this \u003cem>Hamlet\u003c/em>, it goes without saying that you should not expect a perfect production. Jackson’s cut of the play is sharp and smooth, though it sacrifices much of the political statecraft that makes Hamlet such a fascinating public figure, both for Shakespeare’s imagined Denmark and us as well. This is a \u003cem>Hamlet\u003c/em> of intense personal feeling, and the production only falters when it takes on some of the play’s more public scenes. These include the opening coronation of Claudius, the staging of the play-within-the-play, and the final fight where a rethinking of the stage combat is needed.\u003c/p>\n\u003cp>These are all small concerns, though. Everything about this \u003cem>Hamlet\u003c/em>, even the in-character calls for the odd forgotten line, is alive to one of the greatest plays in the world. We should be thankful to witness such a circus of daring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The initial run of \u003cem>Hamlet\u003c/em> plays through Sunday, May 15 at Shotgun Players’ Ashby Stage in Berkeley, and it will continue to run in rep (alongside other plays in the season) through January, 2017. For tickets and information go to www.shotgunplayers.org.\u003c/strong>\u003c/p>\n\n",
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"excerpt": "In Mark Jackson's brilliant, daring production for Shotgun Players, cast members have no idea what part they’re going to play until 5 minutes before curtain",
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"description": "In Mark Jackson's brilliant, daring production for Shotgun Players, cast members have no idea what part they’re going to play until 5 minutes before curtain",
"title": "What Happens when you Cast 'Hamlet' by Pulling Names out of Yorick's Skull | KQED",
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"headline": "What Happens when you Cast 'Hamlet' by Pulling Names out of Yorick's Skull",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Behind the character of Shakespeare’s Hamlet is a line of thousands of actors. They have come to him over and over again, as if he were less a role to play than an artistic pilgrimage. We speak of Olivier’s Hamlet, Burton’s Hamlet, Gielgud’s Hamlet, Richardson’s, Berkoff’s, Kline’s, Hawkes’, Branagh’s, Cumberbatch’s…the list goes on. And we even speak with regret of the Hamlets that \u003cem>might have been\u003c/em>: Brando’s, Dean’s, Welles’. We dream of them all, if only to toss them aside as likely to have come up short.\u003c/p>\n\u003cp>Yet Hamlet will have none of it. The most definitive character of the Western canon is also the most elusive. Every attempt seems a gloss — an approximation of the real thing. And so Shakespeare’s \u003cem>Hamlet\u003c/em> has always seemed more of an actor’s play than a director’s; more about an ambitious actor confronting an impossible role than the personal and political struggles of one royal family in Denmark. As a weeping teenager said to me after a rather pedestrian production, “we have lost a beautiful soul.” One might add, that we have lost all the souls determined to bring that soul to life. Enter the graveyard and behold the ghosts. It’s a crowded field.\u003c/p>\n\u003cp>Mark Jackson knows that. The director and conceptual wizard behind the Shotgun Players’ uplifting and weirdly affecting \u003cem>Hamlet\u003c/em> once performed a version of the play, \u003cem>I am Hamlet\u003c/em>, in which Hamlet played all the roles himself.\u003c/p>\n\u003cp>Here, Jackson reverses the equation. Announcing before the performance begins to the audience that the actors have no idea who they’re going to play — and in fact no one does, not even the director himself — he invites the cast of seven on stage. The actors run out with the peppy bonhomie of game show contestants, line up in a row before us, and wait. Who will play Hamlet? And for that matter Claudius, Ophelia, Polonius, Laertes? Jackson pulls the cast list out of Yorick’s skull and assigns the parts one by one. It’s a goofy, curiously intense moment.\u003c/p>\n\u003cfigure id=\"attachment_11528061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528061\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg\" alt=\"(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo:\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-800x444.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-768x426.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-960x533.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-672x372.jpg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/1-1-e1461698736727.jpg 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From L to R) Beth Wilmurt, Cathleen Riddley, Nick Medina, El Beh, Kevin Clarke, David Sinaiko, and Megan Trout wait to be assigned their roles. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>You immediately notice that there isn’t a conventional Hamlet in the cast. They are a wonderfully eclectic bunch: men and women, a smattering of ages and races, and, if you follow Bay Area performers, even different acting styles. So the first move Jackson makes in this \u003cem>Hamlet\u003c/em> is both to play up and side step the drama of playing Hamlet. There will be a confrontation between actor and role, but one unknown until the very last moment. And this is the rub: what is true for Hamlet will now be true for all the other roles as well. We are plunged into a democracy of infinite possibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is that gray-haired man capable of playing the young and tragic Ophelia? Can that young woman possibly understand what it means to be Polonius, an aging stooge to the king? What would an African-American woman bring to Hamlet or Hamlet to her? Every role becomes a question and every cast member an uncertain answer. Even talent, at least how we normally perceive it, loses meaning in this production. Instead, the question becomes one of qualities: how does this particular person, unlikely or perfectly cast, transform the character and, most importantly, the play?\u003c/p>\n\u003cp>Nick Medina, a revelation all three nights I saw him, opens up aspects of \u003cem>Hamlet\u003c/em> that are often unrealized. I always thought of Gertrude as cold, not compassionate. Yet watch him tear up, not showily, when his character watches Ophelia go mad, or his shock when Gertrude realizes that Claudius has no feeling for her son. Here is a young man’s body, wild and forceful, giving subtle expression to the half-formed fears of a middle-aged woman.\u003c/p>\n\u003cfigure id=\"attachment_11528072\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528072 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg\" alt=\"Hamlet\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/3-1.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude and Nick Medina as Claudius. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>And on a different night that same body takes on Ophelia, so that when she goes mad, Medina unleashes a shocking male physicality into Ophelia’s rage. It feels as if she’s being played by a wrestler and it not only works, but it also feels true. We don’t lose the fact that Ophelia’s a young woman, but instead gain the expressive force of brute male strength. I thought he would destroy her costume.\u003c/p>\n\u003cp>Other actors provide similar chameleon thrills. Kevin Clarke makes for a passionate and precise Hamlet. It’s a thrilling performance. And the next night, he brings those same qualities to Laertes and it unleashes a crazy energy into the production. Beth Wilmurt slips so easily into Polonius that you have to keep reminding yourself that the character is not a woman. So that when he warns Ophelia of the dangers in falling in love with Hamlet, you can’t help but feel that Wilmurt is talking to a younger version of herself — that she once was Ophelia, and ironically in this production, still might be.\u003c/p>\n\u003cp>The play begins with a ghost. But see the play three times in a row as I did, and it feels as if the entire cast has a touch of the dead and missing about them. Wasn’t Clarke Hamlet’s father the day before he played Hamlet? Megan Trout’s commanding Claudius has strong traces of her equally regal Gertrude. In playing Polonius, Laertes, and Ophelia over successive nights, Cathleen Riddley sketches a beautiful portrait of a most unfortunate family, all victims of Hamlet’s rage. Cast her to type and she would have been the missing wife and mother that the play never mentions.\u003c/p>\n\u003cfigure id=\"attachment_11528068\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11528068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/6-800x533.jpg\" alt=\"Hamlet\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Beth Wilmurt as Gertrude, Nick Medina as Claudius, Cathleen Riddley as Ophelia, and Megan Trout as Laertes. Photo: Pak Han.\u003c/figcaption>\u003c/figure>\n\u003cp>There are only seven actors in this production, but they produce scores of ghosts, doppelgangers, and strange memories of themselves. It’s a beautiful effect and a unique and rich response to the play.\u003c/p>\n\u003cp>But given the amount of daring, skill, energy, and focus it must have taken to produce this \u003cem>Hamlet\u003c/em>, it goes without saying that you should not expect a perfect production. Jackson’s cut of the play is sharp and smooth, though it sacrifices much of the political statecraft that makes Hamlet such a fascinating public figure, both for Shakespeare’s imagined Denmark and us as well. This is a \u003cem>Hamlet\u003c/em> of intense personal feeling, and the production only falters when it takes on some of the play’s more public scenes. These include the opening coronation of Claudius, the staging of the play-within-the-play, and the final fight where a rethinking of the stage combat is needed.\u003c/p>\n\u003cp>These are all small concerns, though. Everything about this \u003cem>Hamlet\u003c/em>, even the in-character calls for the odd forgotten line, is alive to one of the greatest plays in the world. We should be thankful to witness such a circus of daring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The initial run of \u003cem>Hamlet\u003c/em> plays through Sunday, May 15 at Shotgun Players’ Ashby Stage in Berkeley, and it will continue to run in rep (alongside other plays in the season) through January, 2017. For tickets and information go to www.shotgunplayers.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Minnesota judge appointed a corporate trust company on Wednesday to temporarily oversee Prince’s multimillion-dollar estate, saying the emergency appointment was necessary because the superstar musician doesn’t appear to have a will and immediate decisions must be made about his business interests.\u003c/p>\n\u003cp>Judge Kevin Eide granted a request from Prince’s sister to appoint Bremer Trust as special administrator, giving the company authority to manage and supervise Prince’s assets and identify his heirs. Eide said Prince had no appointed personal representative but had substantial assets and owned businesses that require immediate attention and ongoing management.\u003c/p>\n\u003cp>The judge also noted that identities and addresses of Prince’s heirs need to be determined. Prince’s only full sibling, Tyka Nelson, requested the move Tuesday, telling the court she believed her brother didn’t have a will. Prince also has five surviving half-siblings who could share in the estate.\u003c/p>\n\u003cp>Eide wrote that Prince died “intestate,” meaning he did not have a valid will, and said there was no pending application or petition for probate of a will in any court. However, someone could still come forward with a will or trust document, which happened after Michael Jackson died in June 2009. Jackson’s longtime lawyer John Branca filed a will six days after his death, upending moves by Jackson’s mother to become his estate’s executor based on her assumption there wasn’t a will.\u003c/p>\n\u003cp>For now, Bremer Trust will act as special administrator for six months or until a personal representative is appointed, whichever is less.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later Wednesday, the estate already had its first claim against it, with a filing from a California man who claimed that Prince had transferred ownership of his music catalog to him in 1995.\u003c/p>\n\u003cp>Prince, 57, died last week at Paisley Park, his famous home and recording studio complex in suburban Minneapolis. His cause of death hasn’t been released. An autopsy was conducted Friday, but results aren’t expected to be released for weeks.\u003c/p>\n\u003cp>The value of his estate isn’t known. Prince made hundreds of millions of dollars for record companies, concert venues and others, and the outpouring of grief and nostalgia after his death prompted fans to buy 2.3 million of his songs in just three days.\u003c/p>\n\u003cp>Prince also owned a dozen properties in Minnesota, most of it undeveloped land and some houses for relatives, worth about $27 million, according to public records. He also sold more than 100 million albums, and concert industry magazine Pollstar reported that in the years Prince’s tours topped the charts — 10 years over four decades performing — they raked in $225 million in ticket sales.\u003c/p>\n\u003cp>But it’s not clear how much money Prince had when he died, given that he had to pay record labels and staff and cover other expenses.\u003c/p>\n\u003cp>On Wednesday, Eide said Bremer Trust was in the best position to handle Prince’s estate. The judge noted that its affiliate, Bremer Bank, had worked with Prince and has knowledge of his personal and business finances.\u003c/p>\n\u003cp>The judge said Nelson and one of Prince’s half-brothers, Omarr Baker, were part of the telephone conference that prompted his decision Wednesday. The judge said no one objected to appointing a special administrator.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings. Prince wasn’t married and had no known living children.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Minnesota judge appointed a corporate trust company on Wednesday to temporarily oversee Prince’s multimillion-dollar estate, saying the emergency appointment was necessary because the superstar musician doesn’t appear to have a will and immediate decisions must be made about his business interests.\u003c/p>\n\u003cp>Judge Kevin Eide granted a request from Prince’s sister to appoint Bremer Trust as special administrator, giving the company authority to manage and supervise Prince’s assets and identify his heirs. Eide said Prince had no appointed personal representative but had substantial assets and owned businesses that require immediate attention and ongoing management.\u003c/p>\n\u003cp>The judge also noted that identities and addresses of Prince’s heirs need to be determined. Prince’s only full sibling, Tyka Nelson, requested the move Tuesday, telling the court she believed her brother didn’t have a will. Prince also has five surviving half-siblings who could share in the estate.\u003c/p>\n\u003cp>Eide wrote that Prince died “intestate,” meaning he did not have a valid will, and said there was no pending application or petition for probate of a will in any court. However, someone could still come forward with a will or trust document, which happened after Michael Jackson died in June 2009. Jackson’s longtime lawyer John Branca filed a will six days after his death, upending moves by Jackson’s mother to become his estate’s executor based on her assumption there wasn’t a will.\u003c/p>\n\u003cp>For now, Bremer Trust will act as special administrator for six months or until a personal representative is appointed, whichever is less.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later Wednesday, the estate already had its first claim against it, with a filing from a California man who claimed that Prince had transferred ownership of his music catalog to him in 1995.\u003c/p>\n\u003cp>Prince, 57, died last week at Paisley Park, his famous home and recording studio complex in suburban Minneapolis. His cause of death hasn’t been released. An autopsy was conducted Friday, but results aren’t expected to be released for weeks.\u003c/p>\n\u003cp>The value of his estate isn’t known. Prince made hundreds of millions of dollars for record companies, concert venues and others, and the outpouring of grief and nostalgia after his death prompted fans to buy 2.3 million of his songs in just three days.\u003c/p>\n\u003cp>Prince also owned a dozen properties in Minnesota, most of it undeveloped land and some houses for relatives, worth about $27 million, according to public records. He also sold more than 100 million albums, and concert industry magazine Pollstar reported that in the years Prince’s tours topped the charts — 10 years over four decades performing — they raked in $225 million in ticket sales.\u003c/p>\n\u003cp>But it’s not clear how much money Prince had when he died, given that he had to pay record labels and staff and cover other expenses.\u003c/p>\n\u003cp>On Wednesday, Eide said Bremer Trust was in the best position to handle Prince’s estate. The judge noted that its affiliate, Bremer Bank, had worked with Prince and has knowledge of his personal and business finances.\u003c/p>\n\u003cp>The judge said Nelson and one of Prince’s half-brothers, Omarr Baker, were part of the telephone conference that prompted his decision Wednesday. The judge said no one objected to appointing a special administrator.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings. Prince wasn’t married and had no known living children.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Report: Prince had Painkillers in his Possession at Time of Death [UPDATE]",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003cem>April 28, 2pm\u003c/em>\u003c/p>\n\u003cp>Sheriff’s deputies investigating the death of superstar Prince have reportedly found prescription painkillers in the artist’s home and are asking for assistance from the Drug Enforcement Agency (DEA), according \u003ca href=\"http://www.nbcnews.com/pop-culture/celebrity/prince-s-death-local-investigators-ask-dea-s-help-case-n563766\" target=\"_blank\" rel=\"noopener\">to several news reports\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”eVNGxOdzC7VuxQMqhL3CzPpAQil0CMPf”]\u003c/p>\n\u003cp>Prince died suddenly last Thursday at the age of 57 at his Minnesota home, less than a week after his plane made an emergency landing in Illinois because he was experiencing health issues, \u003ca href=\"http://www.nbcnews.com/pop-culture/music/prince-s-mysterious-final-flight-stopped-unresponsive-male-source-n560416\" target=\"_blank\" rel=\"noopener\">his representatives later said\u003c/a>.\u003c/p>\n\u003cp>It is unclear whether or not the painkillers played a role in the musician’s death; the day after Prince died, an autopsy was conducted but officials have said that the results would not be ready for weeks. The Carver County Sheriff’s office has reached out to the DEA for assistance in determining where the pills came from and what prescriptions Prince had obtained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of Prince’s friends \u003ca href=\"http://www.tmz.com/2016/04/27/prince-percocet-addiction-doctors/\" target=\"_blank\" rel=\"noopener\">told TMZ\u003c/a> that the artist had been taking Percocet since 2009 and continued to do so after undergoing hip surgery the following year.\u003c/p>\n\u003cp>\u003cem>UPDATE:\u003c/em> The Associated Press reports that the Carver County Sheriff’s office denies reaching out to the DEA for assistance and has convinced a judge to seal the search warrant being used in their investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Carver County Deputy Sheriff Jason Kamerud told the Associated Press. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE:\u003c/b> \u003cem>April 28, 2pm\u003c/em>\u003c/p>\n\u003cp>Sheriff’s deputies investigating the death of superstar Prince have reportedly found prescription painkillers in the artist’s home and are asking for assistance from the Drug Enforcement Agency (DEA), according \u003ca href=\"http://www.nbcnews.com/pop-culture/celebrity/prince-s-death-local-investigators-ask-dea-s-help-case-n563766\" target=\"_blank\" rel=\"noopener\">to several news reports\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Prince died suddenly last Thursday at the age of 57 at his Minnesota home, less than a week after his plane made an emergency landing in Illinois because he was experiencing health issues, \u003ca href=\"http://www.nbcnews.com/pop-culture/music/prince-s-mysterious-final-flight-stopped-unresponsive-male-source-n560416\" target=\"_blank\" rel=\"noopener\">his representatives later said\u003c/a>.\u003c/p>\n\u003cp>It is unclear whether or not the painkillers played a role in the musician’s death; the day after Prince died, an autopsy was conducted but officials have said that the results would not be ready for weeks. The Carver County Sheriff’s office has reached out to the DEA for assistance in determining where the pills came from and what prescriptions Prince had obtained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of Prince’s friends \u003ca href=\"http://www.tmz.com/2016/04/27/prince-percocet-addiction-doctors/\" target=\"_blank\" rel=\"noopener\">told TMZ\u003c/a> that the artist had been taking Percocet since 2009 and continued to do so after undergoing hip surgery the following year.\u003c/p>\n\u003cp>\u003cem>UPDATE:\u003c/em> The Associated Press reports that the Carver County Sheriff’s office denies reaching out to the DEA for assistance and has convinced a judge to seal the search warrant being used in their investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Carver County Deputy Sheriff Jason Kamerud told the Associated Press. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Punk rock mainstays NOFX have been defying music industry trends for three decades. Now the band’s members can add a new achievement to their unlikely success story: Best-selling authors.\u003c/p>\n\u003cp>The collaborative autobiography \u003cem>Hepatitis Bathtub and Other Stories\u003c/em> reached No. 9 on the \u003cem>New York Times\u003c/em> best seller list for paperback nonfiction this week, and the band is on a tour that alternates shows with book signing events.\u003c/p>\n\u003cp>It has them exchanging graffiti-covered backstage rooms and music venues for the more erudite surroundings of the Harvard University book store in Boston on Thursday, the Strand in New York on Friday and Politics and Prose in Washington on Saturday.\u003c/p>\n\u003cp>Singer and bass player Mike Burkett, drummer Erik “Smelly” Sandin and guitarists Eric Melvin and Aaron “El Hefe” Abeyta spoke to The Associated Press on Tuesday at novelist Ann Patchett’s Parnassus Books in Nashville before signing books and paraphernalia for a crowd of fans lined up through the store, many with children — and sometimes grandchildren — in tow.\u003c/p>\n\u003cp>The book written with documentary filmmaker Jeff Alulis features first-person accounts about NOFX’s origins amid the violence of the Los Angeles punk scene in the early 1980s, the damaging influence of unsavory characters surrounding the band in its early years and members’ struggles with drugs, alcohol and general debauchery. All of that was followed by seemingly sudden success following Nirvana’s breakout and the ensuing boom for California punk bands like Green Day and Rancid in the early 1990s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burkett, known universally as “Fat Mike,” credits the band’s longevity to the fact that none of the members ever thought they’d make any money, and because they remained independent.\u003c/p>\n\u003cp>“Why did kids like listening to punk rock? Because it was secret music,” he said. “That’s why we never went to a major label. If everybody likes it, it’s no fun to like.”\u003c/p>\n\u003cp>Burkett doesn’t apologize for his blunt descriptions in the books of his forays into bondage, bodily fluids and other fetishism. That’s in keeping with the overall approach of the band, he said.\u003c/p>\n\u003cp>“You’ve always got to push. You’ve got to do things different than what’s been done,” Burkett said. “Other bands don’t want to offend audiences. I love offending audiences.”\u003c/p>\n\u003cp>Still, Burkett was shaken by the November attacks by Islamic extremists that left 89 people dead at an Eagles of Death Metal show at a Paris venue where NOFX has played before.\u003c/p>\n\u003cp>“I’m the cross-dressing Jew pervert, singing songs against all religions,” Burkett said. “We’ve always kept going with lyrics that are totally anti-social and not accepted. But now there’s people that will kill you for that.”\u003c/p>\n\u003cp>The band has since ramped up security for its European shows, hiring a former Navy SEAL to coordinate protection for the band.\u003c/p>\n\u003cp>In the book, amusing stories like the inadvertent theft of the Red Hot Chili Peppers’ stage costumes are balanced with darker memories. For example, guitarist Melvin for the first time discloses to bandmates, family and the public that he was sexually abused by a schoolmate’s father as a child.\u003c/p>\n\u003cp>“For years I just kept it inside, not talking about it,” said Melvin. “People are afraid for many different reasons to talk about it — and what you need to do is talk about it and to sort it out.”\u003c/p>\n\u003cp>Drummer Sandin and band mates candidly discuss their struggles to cope with his worsening heroin addiction, followed by his successful effort to quit taking drugs even as his bandmates continue to revel in mind-altering substances.\u003c/p>\n\u003cp>“They gave me the ultimatum that I either needed to get sober or I was going to die for sure,” Sandlin said. “So I got sober and I got clean, and now I’m on the outs because they’re partying and I’m kind of to myself.”\u003c/p>\n\u003cp>“But I’m happy where I’m at,” he said.\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>Punk rock mainstays NOFX have been defying music industry trends for three decades. Now the band’s members can add a new achievement to their unlikely success story: Best-selling authors.\u003c/p>\n\u003cp>The collaborative autobiography \u003cem>Hepatitis Bathtub and Other Stories\u003c/em> reached No. 9 on the \u003cem>New York Times\u003c/em> best seller list for paperback nonfiction this week, and the band is on a tour that alternates shows with book signing events.\u003c/p>\n\u003cp>It has them exchanging graffiti-covered backstage rooms and music venues for the more erudite surroundings of the Harvard University book store in Boston on Thursday, the Strand in New York on Friday and Politics and Prose in Washington on Saturday.\u003c/p>\n\u003cp>Singer and bass player Mike Burkett, drummer Erik “Smelly” Sandin and guitarists Eric Melvin and Aaron “El Hefe” Abeyta spoke to The Associated Press on Tuesday at novelist Ann Patchett’s Parnassus Books in Nashville before signing books and paraphernalia for a crowd of fans lined up through the store, many with children — and sometimes grandchildren — in tow.\u003c/p>\n\u003cp>The book written with documentary filmmaker Jeff Alulis features first-person accounts about NOFX’s origins amid the violence of the Los Angeles punk scene in the early 1980s, the damaging influence of unsavory characters surrounding the band in its early years and members’ struggles with drugs, alcohol and general debauchery. All of that was followed by seemingly sudden success following Nirvana’s breakout and the ensuing boom for California punk bands like Green Day and Rancid in the early 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burkett, known universally as “Fat Mike,” credits the band’s longevity to the fact that none of the members ever thought they’d make any money, and because they remained independent.\u003c/p>\n\u003cp>“Why did kids like listening to punk rock? Because it was secret music,” he said. “That’s why we never went to a major label. If everybody likes it, it’s no fun to like.”\u003c/p>\n\u003cp>Burkett doesn’t apologize for his blunt descriptions in the books of his forays into bondage, bodily fluids and other fetishism. That’s in keeping with the overall approach of the band, he said.\u003c/p>\n\u003cp>“You’ve always got to push. You’ve got to do things different than what’s been done,” Burkett said. “Other bands don’t want to offend audiences. I love offending audiences.”\u003c/p>\n\u003cp>Still, Burkett was shaken by the November attacks by Islamic extremists that left 89 people dead at an Eagles of Death Metal show at a Paris venue where NOFX has played before.\u003c/p>\n\u003cp>“I’m the cross-dressing Jew pervert, singing songs against all religions,” Burkett said. “We’ve always kept going with lyrics that are totally anti-social and not accepted. But now there’s people that will kill you for that.”\u003c/p>\n\u003cp>The band has since ramped up security for its European shows, hiring a former Navy SEAL to coordinate protection for the band.\u003c/p>\n\u003cp>In the book, amusing stories like the inadvertent theft of the Red Hot Chili Peppers’ stage costumes are balanced with darker memories. For example, guitarist Melvin for the first time discloses to bandmates, family and the public that he was sexually abused by a schoolmate’s father as a child.\u003c/p>\n\u003cp>“For years I just kept it inside, not talking about it,” said Melvin. “People are afraid for many different reasons to talk about it — and what you need to do is talk about it and to sort it out.”\u003c/p>\n\u003cp>Drummer Sandin and band mates candidly discuss their struggles to cope with his worsening heroin addiction, followed by his successful effort to quit taking drugs even as his bandmates continue to revel in mind-altering substances.\u003c/p>\n\u003cp>“They gave me the ultimatum that I either needed to get sober or I was going to die for sure,” Sandlin said. “So I got sober and I got clean, and now I’m on the outs because they’re partying and I’m kind of to myself.”\u003c/p>\n\u003cp>“But I’m happy where I’m at,” he said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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