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"content": "\u003cp>For the past few months, Los Angeles-based artist Ashley “Illma” Gore has learned the power of posting a painting with a prominent penis on the Internet. After her painting became a news sensation and brought her global notoriety, she now faces difficulties in selling her work, along with serious legal trouble.\u003c/p>\n\u003cp>[contextly_sidebar id=”nr8kSjSfTHsZROxY0G0fbMZ6RmRObjWh”]\u003c/p>\n\u003cp>The artwork garnering all the attention is Gore’s painting of presidential candidate Donald Trump, naked, in a pose that clearly displays his penis, which looks more like a scared turtle than a proud python.\u003c/p>\n\u003cp>“The body is modeled after someone I know and I think they’re beautiful,” Gore says of the painting referred to on the Internet as “Donald Trump with a Micropenis.”\u003c/p>\n\u003cfigure id=\"attachment_11443415\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11443415\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-932x1180.jpg\" alt=\"A censored version of the infamous portrait by Illma Gore, 2016, \" width=\"640\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-932x1180.jpg 932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-474x600.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-768x972.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-960x1215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED.jpg 977w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A censored version of the infamous portrait by Illma Gore, 2016. \u003ccite>(Photo: Illma Gore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gore says she never really intended for the painting to bring her this much attention — she initially posted the portrait on a secret feminist group on Facebook in early February. But it came to dominate Facebook and Twitter feeds within days, and in less than a month it was shared over 260,000 times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The backlash was quick and fierce. Within two days of its posting, Facebook took down the picture and banned Gore from posting on the site. Around the same time, someone claiming to represent Trump called her and threatened legal action. Days later, she received a notice from Facebook that reported her for infringement of the \u003ca href=\"http://motherboard.vice.com/read/facebook-wont-let-the-artist-behind-trump-baby-dick-post-images-anymore-illma-gore-dmca\" target=\"_blank\" rel=\"noopener\">Digital Millennium Copyright Act (DMCA)\u003c/a>.\u003c/p>\n\u003cp>And then there’s the constant threats online.\u003c/p>\n\u003cp>“Donald Trump supporters have been sending me a lot of death threats, and I told them that if they didn’t stop, I’d draw it even smaller,” Gore says.\u003c/p>\n\u003cp>Gore, 23, freely admits she’s a provocative artist. Raised in San Francisco and Australia by a mother from Berkeley, Gore began her career in street art. In recent years, she’s become more conceptual in her artwork, undertaking projects like \u003cem>Human Canvas\u003c/em>, \u003ca href=\"http://www.theguardian.com/artanddesign/2015/jan/20/illma-gore-artist-body-tattoos-strangers-names\" target=\"_blank\" rel=\"noopener\">where she lets others create tattoos for her\u003c/a> and plans to display herself nude in galleries every five to ten years. She once also dressed up as a vagina — “\u003ca href=\"https://www.facebook.com/photo.php?fbid=1722679257945895&set=a.1469406863273137.1073741831.100006115120487\" target=\"_blank\" rel=\"noopener\">my head was the clitoris\u003c/a>” — and stood outside of a building that supposedly housed a meeting for readers of \u003ci>Return of Kings \u003c/i>(a blog for self-proclaimed “heterosexual, masculine men”). The meeting was canceled by its organizers.\u003c/p>\n\u003cfigure id=\"attachment_11447807\" class=\"wp-caption aligncenter\" style=\"max-width: 614px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Ilma-Gore-Banned-FBCROP.jpg\" alt=\"One of the many messages Illma Gore received from Facebook after posting her Trump portrait\" width=\"614\" height=\"345\" class=\"size-full wp-image-11447807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Ilma-Gore-Banned-FBCROP.jpg 614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Ilma-Gore-Banned-FBCROP-400x225.jpg 400w\" sizes=\"(max-width: 614px) 100vw, 614px\">\u003cfigcaption class=\"wp-caption-text\">One of the many messages Illma Gore received from Facebook after posting her Trump portrait \u003ccite>(Photo: Illma Gore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the Trump portrait, the negative reactions to her work have had much greater impact than what she says she was prepared for. Not only has she been banned from Facebook, she was barred from eBay for trying to sell the painting \u003ca href=\"https://broadly.vice.com/en_us/article/the-viral-portrait-of-donald-trumps-micropenis-is-now-up-for-auction\" target=\"_blank\" rel=\"noopener\">to raise money for a homeless shelter\u003c/a>. After the first time the auction was taken down, she announced she would donate $100 to the Bernie Sanders campaign for every additional take-down. This happend two more times before eBay banned her from the site for life.\u003c/p>\n\u003cp>“I don’t have much of a voice, but Trump does,” Gore says.\u003c/p>\n\u003cp>There have been some benefits from posting the portrait. She’s been featured in articles in \u003ci>The Guardian,\u003c/i> \u003ci>Vice,\u003c/i> \u003ci>Hyperallergic\u003c/i> and other media outlets. The controversy has even led to a friendship with \u003ca href=\"http://www.nylon.com/articles/illma-gore-evan-rachel-wood\" target=\"_blank\" rel=\"noopener\">actress Evan Rachel Wood\u003c/a>.\u003c/p>\n\u003cp>As it stands now, Gore’s \u003ca href=\"https://www.facebook.com/tomfoolery.art\" target=\"_blank\" rel=\"noopener\">Facebook page is online\u003c/a> but she can’t post to it. She’s also been connected with \u003ca href=\"http://voiceproject.org/\" target=\"_blank\" rel=\"noopener\">the Voice Project,\u003c/a> who are helping her with her legal issues. And for those who want a copy of the infamous portrait for themselves, the controversial painting is available as a free download \u003ca href=\"http://illmagore.com/\" target=\"_blank\" rel=\"noopener\">on her website\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11443414\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11443414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped.jpg\" alt=\"Illma Gore\" width=\"960\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped-768x614.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Illma Gore \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for all the trouble she has gone through, Gore says she still doesn’t understand why the backlash has been so vicious.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you take away the face and look at the body, that’s a stereotypical fine art body study that you would draw in an art class,” Gore says. “Then you put this man’s face on it, who kind of loves his physical image, and all of a sudden you have a huge statement when it doesn’t really matter; your genitals do not define your gender, your power or your status. You can be a president — a good one or a bad one — with a little peen.”\u003c/p>\n\n",
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"title": "License to Illma: Naked Trump Portrait Gets Artist Banned from Facebook, eBay | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the past few months, Los Angeles-based artist Ashley “Illma” Gore has learned the power of posting a painting with a prominent penis on the Internet. After her painting became a news sensation and brought her global notoriety, she now faces difficulties in selling her work, along with serious legal trouble.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The artwork garnering all the attention is Gore’s painting of presidential candidate Donald Trump, naked, in a pose that clearly displays his penis, which looks more like a scared turtle than a proud python.\u003c/p>\n\u003cp>“The body is modeled after someone I know and I think they’re beautiful,” Gore says of the painting referred to on the Internet as “Donald Trump with a Micropenis.”\u003c/p>\n\u003cfigure id=\"attachment_11443415\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11443415\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-932x1180.jpg\" alt=\"A censored version of the infamous portrait by Illma Gore, 2016, \" width=\"640\" height=\"810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-932x1180.jpg 932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-400x506.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-474x600.jpg 474w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-768x972.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED-960x1215.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Donald-Trump-portraitCENSORED.jpg 977w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A censored version of the infamous portrait by Illma Gore, 2016. \u003ccite>(Photo: Illma Gore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gore says she never really intended for the painting to bring her this much attention — she initially posted the portrait on a secret feminist group on Facebook in early February. But it came to dominate Facebook and Twitter feeds within days, and in less than a month it was shared over 260,000 times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The backlash was quick and fierce. Within two days of its posting, Facebook took down the picture and banned Gore from posting on the site. Around the same time, someone claiming to represent Trump called her and threatened legal action. Days later, she received a notice from Facebook that reported her for infringement of the \u003ca href=\"http://motherboard.vice.com/read/facebook-wont-let-the-artist-behind-trump-baby-dick-post-images-anymore-illma-gore-dmca\" target=\"_blank\" rel=\"noopener\">Digital Millennium Copyright Act (DMCA)\u003c/a>.\u003c/p>\n\u003cp>And then there’s the constant threats online.\u003c/p>\n\u003cp>“Donald Trump supporters have been sending me a lot of death threats, and I told them that if they didn’t stop, I’d draw it even smaller,” Gore says.\u003c/p>\n\u003cp>Gore, 23, freely admits she’s a provocative artist. Raised in San Francisco and Australia by a mother from Berkeley, Gore began her career in street art. In recent years, she’s become more conceptual in her artwork, undertaking projects like \u003cem>Human Canvas\u003c/em>, \u003ca href=\"http://www.theguardian.com/artanddesign/2015/jan/20/illma-gore-artist-body-tattoos-strangers-names\" target=\"_blank\" rel=\"noopener\">where she lets others create tattoos for her\u003c/a> and plans to display herself nude in galleries every five to ten years. She once also dressed up as a vagina — “\u003ca href=\"https://www.facebook.com/photo.php?fbid=1722679257945895&set=a.1469406863273137.1073741831.100006115120487\" target=\"_blank\" rel=\"noopener\">my head was the clitoris\u003c/a>” — and stood outside of a building that supposedly housed a meeting for readers of \u003ci>Return of Kings \u003c/i>(a blog for self-proclaimed “heterosexual, masculine men”). The meeting was canceled by its organizers.\u003c/p>\n\u003cfigure id=\"attachment_11447807\" class=\"wp-caption aligncenter\" style=\"max-width: 614px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Ilma-Gore-Banned-FBCROP.jpg\" alt=\"One of the many messages Illma Gore received from Facebook after posting her Trump portrait\" width=\"614\" height=\"345\" class=\"size-full wp-image-11447807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Ilma-Gore-Banned-FBCROP.jpg 614w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Ilma-Gore-Banned-FBCROP-400x225.jpg 400w\" sizes=\"(max-width: 614px) 100vw, 614px\">\u003cfigcaption class=\"wp-caption-text\">One of the many messages Illma Gore received from Facebook after posting her Trump portrait \u003ccite>(Photo: Illma Gore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the Trump portrait, the negative reactions to her work have had much greater impact than what she says she was prepared for. Not only has she been banned from Facebook, she was barred from eBay for trying to sell the painting \u003ca href=\"https://broadly.vice.com/en_us/article/the-viral-portrait-of-donald-trumps-micropenis-is-now-up-for-auction\" target=\"_blank\" rel=\"noopener\">to raise money for a homeless shelter\u003c/a>. After the first time the auction was taken down, she announced she would donate $100 to the Bernie Sanders campaign for every additional take-down. This happend two more times before eBay banned her from the site for life.\u003c/p>\n\u003cp>“I don’t have much of a voice, but Trump does,” Gore says.\u003c/p>\n\u003cp>There have been some benefits from posting the portrait. She’s been featured in articles in \u003ci>The Guardian,\u003c/i> \u003ci>Vice,\u003c/i> \u003ci>Hyperallergic\u003c/i> and other media outlets. The controversy has even led to a friendship with \u003ca href=\"http://www.nylon.com/articles/illma-gore-evan-rachel-wood\" target=\"_blank\" rel=\"noopener\">actress Evan Rachel Wood\u003c/a>.\u003c/p>\n\u003cp>As it stands now, Gore’s \u003ca href=\"https://www.facebook.com/tomfoolery.art\" target=\"_blank\" rel=\"noopener\">Facebook page is online\u003c/a> but she can’t post to it. She’s also been connected with \u003ca href=\"http://voiceproject.org/\" target=\"_blank\" rel=\"noopener\">the Voice Project,\u003c/a> who are helping her with her legal issues. And for those who want a copy of the infamous portrait for themselves, the controversial painting is available as a free download \u003ca href=\"http://illmagore.com/\" target=\"_blank\" rel=\"noopener\">on her website\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11443414\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11443414\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped.jpg\" alt=\"Illma Gore\" width=\"960\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Illma-Gore-2Cropped-768x614.jpg 768w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Illma Gore \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for all the trouble she has gone through, Gore says she still doesn’t understand why the backlash has been so vicious.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you take away the face and look at the body, that’s a stereotypical fine art body study that you would draw in an art class,” Gore says. “Then you put this man’s face on it, who kind of loves his physical image, and all of a sudden you have a huge statement when it doesn’t really matter; your genitals do not define your gender, your power or your status. You can be a president — a good one or a bad one — with a little peen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "NRA Rewrites Fairy Tales With More Firearms, Less Bloodshed",
"title": "NRA Rewrites Fairy Tales With More Firearms, Less Bloodshed",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Adding guns to the world of the Brothers Grimm drastically reduces death rates, according to a study — well, OK, according to a couple of stories published by the NRA.\u003c/p>\n\u003cp>So far, there are only two data points. And they're imaginary. But the trendline is clear: In the NRA's reimagined fairy tales, putting rifles in the hands of children creates a safer world.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.nrafamily.org/\">NRA Family\u003c/a> site published its first reimagined fairy tale — \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">\"Little Red Riding Hood (Has A Gun)\"\u003c/a> in January, and followed up with \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">\"Hansel and Gretel (Have Guns)\"\u003c/a> last week.\u003c/p>\n\u003cp>On Twitter, inspired by the series, a few people have been inventing their own #NRAfairytales, imagining tales that begin with \"once upon a time\" and end with a bang.\u003c/p>\n\u003cp>\"Prince traveling kingdom 2 find owner of glass slipper shot dead by gun wielding evil stepmother,\" \u003ca href=\"https://twitter.com/SarahFMcD/status/713054955058257921\">@SarahFMcD wrote\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"The porridge was too cold, the bed was too hard, but this AK47 is just right,\" \u003ca href=\"https://twitter.com/Scott_Craven2/status/713023488815153152\">@Scott_Craven2 offered\u003c/a>. \"Who's up for some bearskln rugs?\"\u003c/p>\n\u003cp>But the NRA's own stories — written by Amelia Hamilton — are noteworthy for their nearly complete lack of violence.\u003c/p>\n\u003cp>Fairy tales, of course, were notoriously gory and grim in their original incarnations. But the NRA's versions take place in a utopia filled with empowered and unharmed children.\u003c/p>\n\u003cp>Take Little Red Riding Hood. In the original, a young girl and her grandmother are both devoured. A woodcutter with an ax kills the wolf and rips him open, saving the two women.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">the NRA's rewrite\u003c/a>, Red walks through the woods with a rifle in her hands, warding off the wolf along the path. And at her grandmother's house, the situation was defused without a single bullet being fired:\u003c/p>\n\u003cblockquote>\u003cp>\"The wolf leaned in, jaws open wide, then stopped suddenly. Those big ears heard the unmistakable sound of a shotgun's safety being clicked off. Those big eyes looked down and saw that grandma had a scattergun aimed right at him. He realized that Grandmother hadn't been backing away from him; she had been moving towards her shotgun to protect herself and her home.\u003c/p>\n\u003cp>\" 'I don't think I'll be eaten today,' said Grandma, 'and you won't be eating anyone again.' Grandma kept her gun trained on the wolf, who was too scared to move. Before long, he heard a familiar voice call 'Grandmother, I'm here!' Red peeked her head in the door. The wolf couldn't believe his luck—he had come across two capable ladies in the same day, and they were related! Oh, how he hated when families learned how to protect themselves.\"\u003c/p>\u003c/blockquote>\n\u003cp>The wolf is carried away by the hunter, to an undefined but unpleasant end.\u003c/p>\n\u003cp>Or the classic Hansel and Gretel, where two children are abandoned in the woods to die, then imprisoned as food and slave labor, until a witch is killed by, um, forcible cremation.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">Hamilton's version\u003c/a>, the family's hunger prompts not the abandonment of the children, but a hunting trip. The two kids set out into the woods to feed the family. Gretel takes down a 10-point buck before they head home and, as in the original, get lost in the woods.\u003c/p>\n\u003cp>When they see the gingerbread house, they aren't tempted to eat it — they're fully loaded with meat, after all — but they do save two boys who were trapped by the witch. The scene features a rifle, but it proves to be unnecessary:\u003c/p>\n\u003cblockquote>\u003cp>\" 'We're going to get you out of here,' Hansel told the boy, hoisting himself up and climbing into the window, helping Gretel in after him, for he was stronger than his sister.\u003c/p>\n\u003cp>\"The boys directed Hansel to the key that would unlock their cage while Gretel stood at the ready with her firearm just in case, for she was a better shot than her brother. Hansel unlocked the cage and opened the door. The hinges gave a groan and the sound of the witch's snoring stopped, the silence filling the room as they looked at each other in panic. Gretel got her rifle ready, but lowered it again when the snoring resumed. They helped the boys back out the window and hurried into the forest, breathing a sigh of relief when the cottage was out of sight.\"\u003c/p>\u003c/blockquote>\n\u003cp>Guns reappear when the well-armed local populace march on the witch's cottage. The villainess is imprisoned by the local sheriff, \"to be taken away so she could never harm another child.\"\u003c/p>\n\u003cp>Maybe they'll inspire some other advocacy and lobbying groups to defang disturbing fairy tales.\u003c/p>\n\u003cp>Will the pharmaceutical industry take the bite out of Snow White's poisoned apple? Will PETA soothe the angst of the Boy Who Cried Wolf, when the townspeople realize the joys of an animal-free life and set loose their sheep? Will agribusiness harness Jack's beanstalk?\u003c/p>\n\u003cp>The NRA series has inspired some criticism, as \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/03/24/oh-grandmother-what-a-big-gun-you-have-the-nra-rewrites-classic-fairy-tales/\">The Washington Post has noted\u003c/a>: Gun control advocacy groups have decried it for advancing gun culture. Gun rights advocates, meanwhile, have mocked liberal objections to the stories, pointing to the sheer horror of the original tales.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the NRA is pretty clear about its own intent: The stories are tagged \"Fun Friday\" and \"Just for fun\" on the site.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NRA+Rewrites+Fairy+Tales+With+More+Firearms%2C+Less+Bloodshed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adding guns to the world of the Brothers Grimm drastically reduces death rates, according to a study — well, OK, according to a couple of stories published by the NRA.\u003c/p>\n\u003cp>So far, there are only two data points. And they're imaginary. But the trendline is clear: In the NRA's reimagined fairy tales, putting rifles in the hands of children creates a safer world.\u003c/p>\n\u003cp>The \u003ca href=\"http://www.nrafamily.org/\">NRA Family\u003c/a> site published its first reimagined fairy tale — \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">\"Little Red Riding Hood (Has A Gun)\"\u003c/a> in January, and followed up with \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">\"Hansel and Gretel (Have Guns)\"\u003c/a> last week.\u003c/p>\n\u003cp>On Twitter, inspired by the series, a few people have been inventing their own #NRAfairytales, imagining tales that begin with \"once upon a time\" and end with a bang.\u003c/p>\n\u003cp>\"Prince traveling kingdom 2 find owner of glass slipper shot dead by gun wielding evil stepmother,\" \u003ca href=\"https://twitter.com/SarahFMcD/status/713054955058257921\">@SarahFMcD wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"The porridge was too cold, the bed was too hard, but this AK47 is just right,\" \u003ca href=\"https://twitter.com/Scott_Craven2/status/713023488815153152\">@Scott_Craven2 offered\u003c/a>. \"Who's up for some bearskln rugs?\"\u003c/p>\n\u003cp>But the NRA's own stories — written by Amelia Hamilton — are noteworthy for their nearly complete lack of violence.\u003c/p>\n\u003cp>Fairy tales, of course, were notoriously gory and grim in their original incarnations. But the NRA's versions take place in a utopia filled with empowered and unharmed children.\u003c/p>\n\u003cp>Take Little Red Riding Hood. In the original, a young girl and her grandmother are both devoured. A woodcutter with an ax kills the wolf and rips him open, saving the two women.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/1/13/little-red-riding-hood-has-a-gun/\">the NRA's rewrite\u003c/a>, Red walks through the woods with a rifle in her hands, warding off the wolf along the path. And at her grandmother's house, the situation was defused without a single bullet being fired:\u003c/p>\n\u003cblockquote>\u003cp>\"The wolf leaned in, jaws open wide, then stopped suddenly. Those big ears heard the unmistakable sound of a shotgun's safety being clicked off. Those big eyes looked down and saw that grandma had a scattergun aimed right at him. He realized that Grandmother hadn't been backing away from him; she had been moving towards her shotgun to protect herself and her home.\u003c/p>\n\u003cp>\" 'I don't think I'll be eaten today,' said Grandma, 'and you won't be eating anyone again.' Grandma kept her gun trained on the wolf, who was too scared to move. Before long, he heard a familiar voice call 'Grandmother, I'm here!' Red peeked her head in the door. The wolf couldn't believe his luck—he had come across two capable ladies in the same day, and they were related! Oh, how he hated when families learned how to protect themselves.\"\u003c/p>\u003c/blockquote>\n\u003cp>The wolf is carried away by the hunter, to an undefined but unpleasant end.\u003c/p>\n\u003cp>Or the classic Hansel and Gretel, where two children are abandoned in the woods to die, then imprisoned as food and slave labor, until a witch is killed by, um, forcible cremation.\u003c/p>\n\u003cp>In \u003ca href=\"http://www.nrafamily.org/articles/2016/3/17/hansel-and-gretel-have-guns/\">Hamilton's version\u003c/a>, the family's hunger prompts not the abandonment of the children, but a hunting trip. The two kids set out into the woods to feed the family. Gretel takes down a 10-point buck before they head home and, as in the original, get lost in the woods.\u003c/p>\n\u003cp>When they see the gingerbread house, they aren't tempted to eat it — they're fully loaded with meat, after all — but they do save two boys who were trapped by the witch. The scene features a rifle, but it proves to be unnecessary:\u003c/p>\n\u003cblockquote>\u003cp>\" 'We're going to get you out of here,' Hansel told the boy, hoisting himself up and climbing into the window, helping Gretel in after him, for he was stronger than his sister.\u003c/p>\n\u003cp>\"The boys directed Hansel to the key that would unlock their cage while Gretel stood at the ready with her firearm just in case, for she was a better shot than her brother. Hansel unlocked the cage and opened the door. The hinges gave a groan and the sound of the witch's snoring stopped, the silence filling the room as they looked at each other in panic. Gretel got her rifle ready, but lowered it again when the snoring resumed. They helped the boys back out the window and hurried into the forest, breathing a sigh of relief when the cottage was out of sight.\"\u003c/p>\u003c/blockquote>\n\u003cp>Guns reappear when the well-armed local populace march on the witch's cottage. The villainess is imprisoned by the local sheriff, \"to be taken away so she could never harm another child.\"\u003c/p>\n\u003cp>Maybe they'll inspire some other advocacy and lobbying groups to defang disturbing fairy tales.\u003c/p>\n\u003cp>Will the pharmaceutical industry take the bite out of Snow White's poisoned apple? Will PETA soothe the angst of the Boy Who Cried Wolf, when the townspeople realize the joys of an animal-free life and set loose their sheep? Will agribusiness harness Jack's beanstalk?\u003c/p>\n\u003cp>The NRA series has inspired some criticism, as \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/03/24/oh-grandmother-what-a-big-gun-you-have-the-nra-rewrites-classic-fairy-tales/\">The Washington Post has noted\u003c/a>: Gun control advocacy groups have decried it for advancing gun culture. Gun rights advocates, meanwhile, have mocked liberal objections to the stories, pointing to the sheer horror of the original tales.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But the NRA is pretty clear about its own intent: The stories are tagged \"Fun Friday\" and \"Just for fun\" on the site.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NRA+Rewrites+Fairy+Tales+With+More+Firearms%2C+Less+Bloodshed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jazz is an art form based on instrumental conversation, and no format makes this more nakedly clear than the duo. Two new albums capture some of jazz’s most creative musicians in intimate dialogues.\u003c/p>\n\u003cp>\u003cstrong>Vijay Iyer & Wadada Leo Smith\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://vijay-iyer.com\">Pianist Vijay Iyer\u003c/a> and trumpeter \u003ca href=\"http://www.wadadaleosmith.com\">Wadada Leo Smith\u003c/a> have recorded together in Smith’s Golden Quartet, but “A Cosmic Rhythm With Each Stroke” (ECM) is their first duo release together. These are two musicians who have scaled the heights.\u003c/p>\n\u003cp>Smith recently retired from his longtime position as a professor at Cal Arts in Valencia, and he’s been enjoying an amazingly productive late-career run. His epic four-disc album, “\u003ca href=\"https://cuneiformrecords.bandcamp.com/album/ten-freedom-summers-2\">Ten Freedom Summers\u003c/a>,” was a finalist for the 2013 Pulitzer Prize for Music. And Iyer, who decided to pursue a career in music as a doctoral student in physics at UC Berkeley, is a professor at Harvard and leads one of jazz’s most exciting and acclaimed trios. But this project takes them both to a very different musical space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zLxVisyR0o4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4pQ8nBZ2QQ8\u003c/p>\n\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jazz is an art form based on instrumental conversation, and no format makes this more nakedly clear than the duo. Two new albums capture some of jazz’s most creative musicians in intimate dialogues.\u003c/p>\n\u003cp>\u003cstrong>Vijay Iyer & Wadada Leo Smith\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://vijay-iyer.com\">Pianist Vijay Iyer\u003c/a> and trumpeter \u003ca href=\"http://www.wadadaleosmith.com\">Wadada Leo Smith\u003c/a> have recorded together in Smith’s Golden Quartet, but “A Cosmic Rhythm With Each Stroke” (ECM) is their first duo release together. These are two musicians who have scaled the heights.\u003c/p>\n\u003cp>Smith recently retired from his longtime position as a professor at Cal Arts in Valencia, and he’s been enjoying an amazingly productive late-career run. His epic four-disc album, “\u003ca href=\"https://cuneiformrecords.bandcamp.com/album/ten-freedom-summers-2\">Ten Freedom Summers\u003c/a>,” was a finalist for the 2013 Pulitzer Prize for Music. And Iyer, who decided to pursue a career in music as a doctoral student in physics at UC Berkeley, is a professor at Harvard and leads one of jazz’s most exciting and acclaimed trios. But this project takes them both to a very different musical space.\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/zLxVisyR0o4'\n title='//www.youtube.com/embed/zLxVisyR0o4'\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>Austere and full of portentous stretches of silence, the album’s centerpiece is a seven-movement suite dedicated to the great Indian visual artist \u003ca href=\"http://www.metmuseum.org/exhibitions/listings/2016/nasreen-mohamedi\">Nasreen Mohamedi\u003c/a>, and there’s definitely a connection between the spaciousness and rhythmic patterns of her line drawings and the music. Iyer adds electronic textures on some of the more atmospheric pieces, but I particularly like when they knock up against each other, like on the third movement, “Labyrinths.”\u003c/p>\n\u003cp>\u003cstrong>Ross Hammond & Sameer Gupta\u003c/strong>\u003c/p>\n\u003cp>While both albums are animated by a probing spirituality, or a quest for the ineffable, Sacramento \u003ca href=\"http://www.rosshammond.com\">guitarist Ross Hammond\u003c/a> and Brooklyn tabla player \u003ca href=\"https://sameergupta.com\">Sameer Gupta\u003c/a> deliver a very different kind of duo sound with “Upward” (Prescott Records).\u003c/p>\n\u003cp>Where Iyer and Smith’s astringent music unfolds with meditative (or unsettling) calm, Hammond and Gupta’s improvisations are lush, buoyant and expansive.\u003c/p>\n\u003cfigure id=\"attachment_10908085\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003cimg class=\"size-full wp-image-10908085\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg\" alt=\"Ross Hammond and Sameer Gupta.\" width=\"720\" height=\"492\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta.jpg 720w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/Ross-Hammond-Sameer-Gupta-400x273.jpg 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Ross Hammond and Sameer Gupta.\u003c/figcaption>\u003c/figure>\n\u003cp>Hammond is on 12-string acoustic guitar, which can sound like a sitar. The pieces are mostly improvised, influenced by the rhythmic cycles of classical Indian ragas, but not at all defined by those forms. Gupta got his start on the Bay Area scene as a drummer, and made a powerful impression with \u003ca href=\"https://www.youtube.com/watch?v=ISsrG0X2WYw\">The Supplicants\u003c/a>, an ecstatic jazz trio with bassist David Ewell and saxophonist David Boyce. He and Hammond have been collaborating in various settings for two decades, and \"Upwards\" unfolds like a free-flowing dialogue between old friends.\u003c/p>\n\u003cp>Both Hammond and Gupta are inveterate organizers. In Brooklyn, Gupta has helped spark a thriving \u003ca href=\"http://brooklynragamassive.com\">Indian music scene\u003c/a> with a weekly jazz-style jam session in a Prospect Park cowboy bar. And Hammond has painstakingly built up the improv music scene in California's capital as the co-founder of \u003ca href=\"http://www.sacbee.com/entertainment/music-news-reviews/article2597544.html\">In the Flow\u003c/a> Jazz and Improvised Music Festival and producer of a long-running concert series that brings in illustrious improvisers from around the country.\u003c/p>\n\u003cp>He’s also no stranger to guitar/drum duos. He’s recorded albums with tabla player Alex Jenkins (“\u003ca href=\"https://rosshammond.bandcamp.com/album/the-ni-project\">The Ni Project\u003c/a>”) and drummer Tom Monson (“\u003ca href=\"https://rosshammond.bandcamp.com/album/v-neck\">V Neck\u003c/a>”), and there’s been an album in the works with drummer Scott Amendola for several years (“\u003ca href=\"https://www.youtube.com/watch?v=AS4Ybzc_1D0\">Lovely Builders\u003c/a>”). But all of those albums feature electric guitar and electronics, while “Upward” is entirely acoustic.\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/4pQ8nBZ2QQ8'\n title='//www.youtube.com/embed/4pQ8nBZ2QQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Hammond and Gupta explore a wide array of moods, the album is beautifully cohesive. From the pastoral “When Kesslers Rage” and the aching and elegiac “For Chris Ferreira” to the playful “Farm to Tabla,” the music exists in a timeless realm that touches on jazz, Hindustani music, spirituals and country without residing in any particular style.\u003c/p>\n\u003cp>When he's pushed, Hammond describes himself as a folk musician, which fits fine. As Thelonious Monk told Bob Dylan, we all play folk music. Ultimately, the album feels like listening in on friends who aren’t in any rush to finish their conversation. They left me eagerly anticipating their next encounter.\u003c/p>\n\u003cp>\u003cem>Vijay Iyer and Wadada Leo Smith perform April 15 at \u003ca href=\"http://www.oxy.edu/events/vijay-iyer-wadada-leo-smith\">Occidental College\u003c/a> and April 16 at \u003ca href=\"http://calendar.fullerton.edu/EventList.aspx?fromdate=3/5/2016&todate=6/2/2016&display=Month&type=public&eventidn=6288&view=EventDetails&information_id=19904\">Cal State Fullerton\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> \u003c/em>\u003cem>Sameer Gupta performs at the \u003ca href=\"http://www.redpoppyarthouse.org\">Red Poppy Art\u003c/a> House in San Francisco with David Boyce in \u003ca href=\"http://redpoppyarthouse.org/event/futr-celestial-frequencies/\">The Supplicants Duo\u003c/a> on April 22, a \u003ca href=\"https://www.facebook.com/events/1097365310307875/\">Brooklyn Raga Massive\u003c/a> showcase on April 24, and with \u003ca href=\"http://redpoppyarthouse.org/event/ross-hammond-sameer-gupta/\">Ross Hammond\u003c/a> on April 29. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gertrude Stein, Isadora Duncan, Ina Coolbrith Inspire Outdoor Dance Piece",
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"content": "\u003cp>The weather gods shed tears just as performers Nina Wu, Chelsea Hill and Nicole Casado of the \u003ca href=\"http://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> began to ascend the massive stone staircase at Oakland’s Woodminster Cascade last Sunday afternoon, Mar. 20. Grey skies did nothing to dim the grandeur of the surrounding redwoods, Monterey cypress, olive and eucalyptus stands. Clad in starkly chic blouses and voluminous layered skirts in black and white – attire one might think wholly unsuited to a wilderness expedition – these graceful, intrepid young women scrambled and leapt and rolled and grappled their way up the 242 granite steps, dodging hypothetical bullets and slaying imaginary dragons en route.\u003c/p>\n\u003cp>The musings of three pioneering Bay Area women artists — Gertrude Stein, Isadora Duncan, and Ina Coolbrith — whose lives intersected in the late 19th century, punctuate Sarah Bush’s “Reach,” the second in a triptych of springtime outdoor performances celebrating the wilds of Oakland,\u003cem> \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The first part was performed a month ago. Dubbed “Recreate,” it featured a quintet of ninjas in hoodies and sweats who seized the Lake Merritt waterfront, under the stern gaze of the Greco-Deco Alameda County Court House. Majestic vocalist Gina Breedlove held sway, delivering an urban jungle scat. In a witty moment, the dancers swung their legs over the waterfront railing and hung upside down, the sparkling lagoon as their backdrop, while Breedlove intoned, “We are learning to breathe underwater.”\u003c/p>\n\u003cp>\u003cem>Watch a short video excerpt of “Recreate”, performed at Lake Merritt on Sunday, Feb. 21:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sarah Bush Dance Project - Lake Merritt Feb 21st - 2016\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/INN2Nx1UlB0?list=PLOtgZHVTLKeNfnXEZpc_mqXb-qmDC-kNd\" 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>[ad fullwidth]\u003c/p>\n\u003cp>For this second site-specific work, the choice of Woodminster Cascade on the edge of Joaquin Miller Park provided a bracing contrast to the concrete, metal and water of downtown Oakland. The park’s history led Bush to identify Coolbrith, California’s first poet laureate and the first poet laureate of any American state, as an inspiration for her dance piece. Coolbrith, a highly influential figure in the San Francisco literary world, was a close friend and rumored lover of eccentric poet Joaquin Miller. Miller bought the 500 acres that eventually became Joaquin Miller Park in the 1880s. He extensively planted the land and made his home there.\u003c/p>\n\u003cp>Coolbrith was a generous mentor to many Bay Area writers and artists, including the dancer Isadora Duncan, the second woman to inspire Bush’s piece. For her third inspiration, Bush picked Stein, who grew up in Oakland. Stein wrote an appreciation of Duncan that began, “Even if one was one she might be like some other one.” As it canters along, Stein’s tribute appears to simulate the hypnotic rhythms, the antinomy of Duncan’s dancing, which radiated both discipline and freedom.\u003c/p>\n\u003cfigure id=\"attachment_11433243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433243\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg\" alt='A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, \"Reach\", at Woodminster Cascade, Joaquin Miller Park, Oakland' width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, “Reach”, at Woodminster Cascade, Joaquin Miller Park, Oakland \u003ccite>(Photo: Lisa Harding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, too, does Bush’s elegant, muscular choreography in “Reach,” danced with controlled abandon. The three dancers swept up the staircase, their movements writ large against the massive architecture and scenery even as their figures grew smaller. Those miraculous skirts billowed like sails on the clipper ships that plied the trade routes during the California Gold Rush. The dancers hoisted each other on their backs when the going got rough, and scaled the mighty stone parapets, arching into backbends, fearlessly lifting their faces to the rain. The silky strains of Zhalisa Clarke’s violin, together with Anita Lofton’s plangent guitar and smoky voice, propelled them on their journey between the readings from Stein, Coolbrith and Duncan.\u003c/p>\n\u003cp>At the close of the piece, the dancers stood poised on a rampart, tossing pieces of notepaper to the wind. Were they pages of autobiography? Love letters? Poems? Rulebooks?\u003c/p>\n\u003cp>The third and final episode of \u003cem>This Land: Oakland\u003c/em> takes place at the Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. “Recall” features musician and activist Melanie DeMore, who will take the dancers and audience through a Gullah stick pounding ritual, combined with spirituals and songs of protest and peace. As with the other two works in the series, Bush hopes to activate the surroundings in a memorable way. “We will, as a community, turn the whole place into a living, breathing drum,” Bush says.\u003c/p>\n\u003cp>\u003cstrong>To find out more about the third installment of\u003cem> This Land: Oakland, \u003c/em>which takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17, please click \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The weather gods shed tears just as performers Nina Wu, Chelsea Hill and Nicole Casado of the \u003ca href=\"http://sarahbushdance.org\" target=\"_blank\" rel=\"noopener\">Sarah Bush Dance Project\u003c/a> began to ascend the massive stone staircase at Oakland’s Woodminster Cascade last Sunday afternoon, Mar. 20. Grey skies did nothing to dim the grandeur of the surrounding redwoods, Monterey cypress, olive and eucalyptus stands. Clad in starkly chic blouses and voluminous layered skirts in black and white – attire one might think wholly unsuited to a wilderness expedition – these graceful, intrepid young women scrambled and leapt and rolled and grappled their way up the 242 granite steps, dodging hypothetical bullets and slaying imaginary dragons en route.\u003c/p>\n\u003cp>The musings of three pioneering Bay Area women artists — Gertrude Stein, Isadora Duncan, and Ina Coolbrith — whose lives intersected in the late 19th century, punctuate Sarah Bush’s “Reach,” the second in a triptych of springtime outdoor performances celebrating the wilds of Oakland,\u003cem> \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">This Land: Oakland\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The first part was performed a month ago. Dubbed “Recreate,” it featured a quintet of ninjas in hoodies and sweats who seized the Lake Merritt waterfront, under the stern gaze of the Greco-Deco Alameda County Court House. Majestic vocalist Gina Breedlove held sway, delivering an urban jungle scat. In a witty moment, the dancers swung their legs over the waterfront railing and hung upside down, the sparkling lagoon as their backdrop, while Breedlove intoned, “We are learning to breathe underwater.”\u003c/p>\n\u003cp>\u003cem>Watch a short video excerpt of “Recreate”, performed at Lake Merritt on Sunday, Feb. 21:\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sarah Bush Dance Project - Lake Merritt Feb 21st - 2016\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/INN2Nx1UlB0?list=PLOtgZHVTLKeNfnXEZpc_mqXb-qmDC-kNd\" 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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For this second site-specific work, the choice of Woodminster Cascade on the edge of Joaquin Miller Park provided a bracing contrast to the concrete, metal and water of downtown Oakland. The park’s history led Bush to identify Coolbrith, California’s first poet laureate and the first poet laureate of any American state, as an inspiration for her dance piece. Coolbrith, a highly influential figure in the San Francisco literary world, was a close friend and rumored lover of eccentric poet Joaquin Miller. Miller bought the 500 acres that eventually became Joaquin Miller Park in the 1880s. He extensively planted the land and made his home there.\u003c/p>\n\u003cp>Coolbrith was a generous mentor to many Bay Area writers and artists, including the dancer Isadora Duncan, the second woman to inspire Bush’s piece. For her third inspiration, Bush picked Stein, who grew up in Oakland. Stein wrote an appreciation of Duncan that began, “Even if one was one she might be like some other one.” As it canters along, Stein’s tribute appears to simulate the hypnotic rhythms, the antinomy of Duncan’s dancing, which radiated both discipline and freedom.\u003c/p>\n\u003cfigure id=\"attachment_11433243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11433243\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg\" alt='A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, \"Reach\", at Woodminster Cascade, Joaquin Miller Park, Oakland' width=\"800\" height=\"579\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Land-Reach-rhsl-Cascade-6241-e1458838960865.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the second part of Sarah Bush Dance Project’s ‘This Land Oakland’, “Reach”, at Woodminster Cascade, Joaquin Miller Park, Oakland \u003ccite>(Photo: Lisa Harding)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, too, does Bush’s elegant, muscular choreography in “Reach,” danced with controlled abandon. The three dancers swept up the staircase, their movements writ large against the massive architecture and scenery even as their figures grew smaller. Those miraculous skirts billowed like sails on the clipper ships that plied the trade routes during the California Gold Rush. The dancers hoisted each other on their backs when the going got rough, and scaled the mighty stone parapets, arching into backbends, fearlessly lifting their faces to the rain. The silky strains of Zhalisa Clarke’s violin, together with Anita Lofton’s plangent guitar and smoky voice, propelled them on their journey between the readings from Stein, Coolbrith and Duncan.\u003c/p>\n\u003cp>At the close of the piece, the dancers stood poised on a rampart, tossing pieces of notepaper to the wind. Were they pages of autobiography? Love letters? Poems? Rulebooks?\u003c/p>\n\u003cp>The third and final episode of \u003cem>This Land: Oakland\u003c/em> takes place at the Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17. “Recall” features musician and activist Melanie DeMore, who will take the dancers and audience through a Gullah stick pounding ritual, combined with spirituals and songs of protest and peace. As with the other two works in the series, Bush hopes to activate the surroundings in a memorable way. “We will, as a community, turn the whole place into a living, breathing drum,” Bush says.\u003c/p>\n\u003cp>\u003cstrong>To find out more about the third installment of\u003cem> This Land: Oakland, \u003c/em>which takes place at Martin Luther King Jr. Regional Shoreline on Sunday, Apr. 17, please click \u003ca href=\"http://sarahbushdance.org/this-land-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Metallica's 'Master of Puppets' is First Metal Album Added to Library of Congress",
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"content": "\u003cp>Metallica, San Francisco Bay Area’s hometown heroes of thrash metal, learned Wednesday that their landmark 1986 LP, \u003ci>Master Of Puppets\u003c/i> will be the first metal album entered into the \u003ca href=\"https://en.wikipedia.org/wiki/National_Recording_Registry\" target=\"_blank\" rel=\"noopener\">Library of Congress’s National Recording Registry\u003c/a>.\u003c/p>\n\u003cp>The Library of Congress included the album in the 2015 registry, which means it was determined by the federal government to be preserved for all time because of its historical significance. It joins 24 other seminal recordings, including John Coltrane’s \u003ci>A Love Supreme,\u003c/i> Gloria Gaynor’s “I Will Survive” and George Carlin’s \u003ci>Class Clown.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Master of Puppets\u003c/i>, the band’s third album and last with influential bassist Cliff Burton (he would later \u003ca href=\"http://ultimateclassicrock.com/metallica-bassist-cliff-burton-dies-in-a-bus-accident/\" target=\"_blank\" rel=\"noopener\">die in a bus crash while touring\u003c/a> for the album 30 years ago), was not only the band’s first release on major label Elektra, but it saw the band move away from the “Thrash Metal” sound it helped develop in the Bay Area in the ’80s. Songs like “The Thing That Should Not Be” (posted below) saw the group move away from the breakneck speed and bludgeoning riffs of their first two records, and concentrate on the more subtle aspects of songwriting, such as dynamics. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bYJGt67Mwmo\u003c/p>\n\u003cp>“Thrash, a reaction against the pop metal of the early 1980s, aimed to renew metal by emphasizing speed and aggression. For example, the song ‘Battery’ on this album — with rhythm guitarist James Hetfield’s galloping power chords, Lars Ulrich’s machine-gun drumming, and lead guitarist Kirk Hammet’s blinding tapped leads — is as rousing an example of the sub-genre as one could find and the technical proficiency is astonishing,” the Library of Congress wrote in an \u003ca href=\"https://www.loc.gov/today/pr/2016/16-056.html\" target=\"_blank\" rel=\"noopener\">announcement about the 2015 registry\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“However, other songs on the record break free of thrash orthodoxy. Cliff Burton’s clean bass lines, volume swells, and careful harmonies, for example, on ‘Orion,’ set that song apart from the standard metal song.”\u003c/p>\n\u003cp>The album was the first thrash metal record to go platinum, eventually selling six million copies.\u003c/p>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" class=\"size-medium wp-image-10834476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drummer Lars Urlich posted a statement on \u003ca href=\"https://metallica.com/blog/news/425089/master-of-puppets-added-to-the-library-of-congress\" target=\"_blank\" rel=\"noopener\">the band’s website\u003c/a>: \u003c/p>\n\u003cp>“Who would’ve ever thought that \u003cem>Master of Puppets\u003c/em>, a record made by a band hovering way left of the mainstream in 1986, would be granted the honor of being added to the National Recording Registry of the Library of Congress?”\u003c/p>\n\u003cp>“\u003cem>Master of Puppets\u003c/em> is a collection of songs that we consider a defining moment in our formative years and the honor bestowed upon this album is beyond thrilling.” \u003c/p>\n\u003cp>Other Bay Area-related recordings added to the 2015 registry include Santana’s \u003ci>Abraxas,\u003c/i> which the San Francisco-based group recorded locally in 1970 and features their first number one hit, “Black Magic Woman;” and a recently-discovered 1940 recording from the Golden Gate International Exposition in San Francisco that showcases composers such as Irving Berlin, Johnny Mercer and Hoagy Carmichael playing their biggest hits during a one-of-a-kind concert. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congress began the registry after passing the National Recording Preservation Act of 2000, the goal of which was to protect the nation’s sound recording heritage. The 2015 registry brings the total number of recordings under the government’s protection to 450. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Metallica, San Francisco Bay Area’s hometown heroes of thrash metal, learned Wednesday that their landmark 1986 LP, \u003ci>Master Of Puppets\u003c/i> will be the first metal album entered into the \u003ca href=\"https://en.wikipedia.org/wiki/National_Recording_Registry\" target=\"_blank\" rel=\"noopener\">Library of Congress’s National Recording Registry\u003c/a>.\u003c/p>\n\u003cp>The Library of Congress included the album in the 2015 registry, which means it was determined by the federal government to be preserved for all time because of its historical significance. It joins 24 other seminal recordings, including John Coltrane’s \u003ci>A Love Supreme,\u003c/i> Gloria Gaynor’s “I Will Survive” and George Carlin’s \u003ci>Class Clown.\u003c/i>\u003c/p>\n\u003cp>\u003ci>Master of Puppets\u003c/i>, the band’s third album and last with influential bassist Cliff Burton (he would later \u003ca href=\"http://ultimateclassicrock.com/metallica-bassist-cliff-burton-dies-in-a-bus-accident/\" target=\"_blank\" rel=\"noopener\">die in a bus crash while touring\u003c/a> for the album 30 years ago), was not only the band’s first release on major label Elektra, but it saw the band move away from the “Thrash Metal” sound it helped develop in the Bay Area in the ’80s. Songs like “The Thing That Should Not Be” (posted below) saw the group move away from the breakneck speed and bludgeoning riffs of their first two records, and concentrate on the more subtle aspects of songwriting, such as dynamics. \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/bYJGt67Mwmo'\n title='//www.youtube.com/embed/bYJGt67Mwmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Thrash, a reaction against the pop metal of the early 1980s, aimed to renew metal by emphasizing speed and aggression. For example, the song ‘Battery’ on this album — with rhythm guitarist James Hetfield’s galloping power chords, Lars Ulrich’s machine-gun drumming, and lead guitarist Kirk Hammet’s blinding tapped leads — is as rousing an example of the sub-genre as one could find and the technical proficiency is astonishing,” the Library of Congress wrote in an \u003ca href=\"https://www.loc.gov/today/pr/2016/16-056.html\" target=\"_blank\" rel=\"noopener\">announcement about the 2015 registry\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“However, other songs on the record break free of thrash orthodoxy. Cliff Burton’s clean bass lines, volume swells, and careful harmonies, for example, on ‘Orion,’ set that song apart from the standard metal song.”\u003c/p>\n\u003cp>The album was the first thrash metal record to go platinum, eventually selling six million copies.\u003c/p>\n\u003cfigure id=\"attachment_10834476\" class=\"wp-caption aligncenter\" style=\"max-width: 759px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg\" alt=\"Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. (Photo by Brian Lew)\" width=\"759\" height=\"600\" class=\"size-medium wp-image-10834476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-759x600.jpg 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW-400x316.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/METALLICA-PALO-ALTO-1983-BRIAN-LEW.jpg 896w\" sizes=\"(max-width: 759px) 100vw, 759px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Burton and James Hetfield of Metallica, live in Palo Alto in 1983. \u003ccite>(Photo: Brian Lew)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Drummer Lars Urlich posted a statement on \u003ca href=\"https://metallica.com/blog/news/425089/master-of-puppets-added-to-the-library-of-congress\" target=\"_blank\" rel=\"noopener\">the band’s website\u003c/a>: \u003c/p>\n\u003cp>“Who would’ve ever thought that \u003cem>Master of Puppets\u003c/em>, a record made by a band hovering way left of the mainstream in 1986, would be granted the honor of being added to the National Recording Registry of the Library of Congress?”\u003c/p>\n\u003cp>“\u003cem>Master of Puppets\u003c/em> is a collection of songs that we consider a defining moment in our formative years and the honor bestowed upon this album is beyond thrilling.” \u003c/p>\n\u003cp>Other Bay Area-related recordings added to the 2015 registry include Santana’s \u003ci>Abraxas,\u003c/i> which the San Francisco-based group recorded locally in 1970 and features their first number one hit, “Black Magic Woman;” and a recently-discovered 1940 recording from the Golden Gate International Exposition in San Francisco that showcases composers such as Irving Berlin, Johnny Mercer and Hoagy Carmichael playing their biggest hits during a one-of-a-kind concert. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Congress began the registry after passing the National Recording Preservation Act of 2000, the goal of which was to protect the nation’s sound recording heritage. The 2015 registry brings the total number of recordings under the government’s protection to 450. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Fine Art Museums of San Francisco (FAMSF), which manages both the de Young and Legion of Honor museums, announced Tuesday that it hired a new director.\u003c/p>\n\u003cp>Austrian-born Max Hollein will be filling the organization’s top position starting June 3, according to the \u003ca href=\"http://www.sfgate.com/art/article/Frankfurt-museum-director-to-head-Fine-Arts-6969720.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. Hollein currently lives in Germany, where he is director of three of the country’s notable museums: the Schirn Kunsthalle, Städel Museum and the Liebieghaus Sculpture Collection.\u003c/p>\n\u003cp>Hollein replaces former director Colin Bailey, who left in April last year for the director position at the Morgan Library & Museum in New York City, just two years after taking the FAMSF job. A 12-person committee, led by former Banana Republic president Jack Calhoun, spent the past year searching for Bailey’s replacement.\u003c/p>\n\u003cp>As director, Hollein will be in charge of 550 employees and an annual budget of $60 million, some of it supplied by the city.\u003c/p>\n\u003cp>To learn more about the hire, read the \u003ca href=\"http://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">FAMSF’s announcement online\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fine Art Museums of San Francisco (FAMSF), which manages both the de Young and Legion of Honor museums, announced Tuesday that it hired a new director.\u003c/p>\n\u003cp>Austrian-born Max Hollein will be filling the organization’s top position starting June 3, according to the \u003ca href=\"http://www.sfgate.com/art/article/Frankfurt-museum-director-to-head-Fine-Arts-6969720.php\" target=\"_blank\" rel=\"noopener\">San Francisco Chronicle\u003c/a>. Hollein currently lives in Germany, where he is director of three of the country’s notable museums: the Schirn Kunsthalle, Städel Museum and the Liebieghaus Sculpture Collection.\u003c/p>\n\u003cp>Hollein replaces former director Colin Bailey, who left in April last year for the director position at the Morgan Library & Museum in New York City, just two years after taking the FAMSF job. A 12-person committee, led by former Banana Republic president Jack Calhoun, spent the past year searching for Bailey’s replacement.\u003c/p>\n\u003cp>As director, Hollein will be in charge of 550 employees and an annual budget of $60 million, some of it supplied by the city.\u003c/p>\n\u003cp>To learn more about the hire, read the \u003ca href=\"http://www.famsf.org/press-room/fine-arts-museums-san-francisco-announce-director\" target=\"_blank\" rel=\"noopener\">FAMSF’s announcement online\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Why Phife Mattered: Remembering Hip-Hop's Relatable MC",
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"content": "\u003cp>First, let’s talk about one of the greatest entrances in all of hip-hop: A Tribe Called Quest’s “Buggin’ Out” begins with a single bass line, loping around a rootless, vague key, when the drums come in… \u003cem>on the two\u003c/em>? And Phife starts rapping to establish the downbeat… \u003cem>on the three\u003c/em>? We’re already disoriented. Phife sets us straight:\u003c/p>\n\u003cp>\u003cem>Microphone check, one two, what is this? / The five-foot assassin with the roughneck business\u003cbr />\nI float like gravity / never had a cavity / Got more rhymes than the Winans got family\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P9oTCzWRuvQ\u003c/p>\n\u003cp>We had arguments, my friends and I, over who delivered the better opening line: Q-Tip’s “\u003ca href=\"https://www.youtube.com/watch?v=NZWS6CITutY\" target=\"_blank\" rel=\"noopener noreferrer\">Back in the days when I was a teenager\u003c/a>” vs. Phife’s “Microphone check, one two, what is this.” We vacillated. We knew one thing, at least, in my circle of friends: if “Buggin’ Out” came on and you nailed the off-time entrance, you were good. Q-Tip’s lines may have \u003ca href=\"http://abmnewyork.blogspot.com/2008/07/tribe-called-quest-x-alife.html\" target=\"_blank\" rel=\"noopener noreferrer\">made T-shirts\u003c/a>, but Phife guides “Buggin’ Out” in all its lopsided glory. \u003ca href=\"http://ontheblockshop.tumblr.com/post/136667569371/styles-upon-styles-upon-styles-is-what-we-have\" target=\"_blank\" rel=\"noopener noreferrer\">Styles upon styles upon styles\u003c/a>, indeed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phife Dawg, who \u003ca href=\"http://www.rollingstone.com/music/news/a-tribe-called-quests-phife-dawg-dead-at-45-20160323\" target=\"_blank\" rel=\"noopener noreferrer\">died\u003c/a> at the age of 45 at his home near Antioch, in Contra Costa County, was hip-hop royalty while still seeming like one of us. Q-Tip gets most of the credit for Tribe, of course, and he deserves plenty for finding Tribe’s samples, producing songs, crafting their structure. But whereas Tip was smooth, distant, impossibly cool, Phife was instantly relatable. He was \u003ca href=\"http://www.usatoday.com/story/life/entertainthis/2016/03/23/mac-miller-remembers-phife-dawg-new-song-5-foot-assassin/82156952/\" target=\"_blank\" rel=\"noopener noreferrer\">short\u003c/a>, he had \u003ca href=\"http://genius.com/67291\" target=\"_blank\" rel=\"noopener noreferrer\">diabetes\u003c/a>, he was a little insecure about \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">his crushes\u003c/a>, and all these things made his successes on the mic more exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_11430606\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg\" alt=\"'Check the Rhime' 12", A Tribe Called Quest, 1993.\" width=\"640\" height=\"631\" class=\"size-large wp-image-11430606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-609x600.jpg 609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-960x946.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">‘Check the Rhime’ 12″, A Tribe Called Quest, 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a function of social media, in the wake of celebrity death, to don rose-colored glasses. But seeing hundreds of thousands of people \u003ca href=\"https://twitter.com/search?q=%23RIPPhife&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">type his lines into their phones\u003c/a> all over the world makes a case that \u003ca href=\"https://www.youtube.com/watch?v=F3PW2dXh0dk\" target=\"_blank\" rel=\"noopener noreferrer\">on the boulevard of Linden\u003c/a>, Phife owned the more memorable ones:\u003c/p>\n\u003cp>\u003cem>Now here’s a funky introduction of how nice I am\u003cbr />\nTell your mother, tell your father, send a telegram\u003c/em>\u003c/p>\n\u003cp>\u003cem>I like ’em brown, yellow, Puerto Rican or Haitian\u003cbr />\nName is Phife Dawg from the Zulu Nation\u003c/em>\u003c/p>\n\u003cp>\u003cem>I never half-step ’cause I’m not a half-stepper\u003cbr />\nDrink a lot of soda so they call me Dr. Pepper\u003c/em>\u003c/p>\n\u003cp>These lines are woven into the fabric of rap music, and for a certain generation of hip-hop fans, it’s impossible to think of Phife in any objective, non-personal way. (When my daughter was born and we brought her home from the hospital, \u003cem>The Low End Theory\u003c/em> was \u003ca href=\"https://www.instagram.com/p/BDTW80TySZs/\" target=\"_blank\" rel=\"noopener noreferrer\">the first album we played\u003c/a> for her.) He \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">used to have a crush on Dawn from En Vogue\u003c/a>. Who didn’t? Phife was your friend who got picked on in school, but who one day showed everyone just how smart and funny he was inside, and then nothing’s ever the same in your circle of friends since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PTwKWV5Sx94\u003c/p>\n\u003cp>Whatever rift existed between Q-Tip and Phife, in the moments the two reunited – locally, at the Berkeley Community Theater in 2006, Outside Lands in 2009, or Rock the Bells in 2010 – Tribe brought simple unadulterated joy. When the two were split, it was a shame. For Phife, who spent his last years \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\" rel=\"noopener noreferrer\">living quietly\u003c/a> in Contra Costa County and battling diabetes, the extended hiatus must have been tough. The \u003ca href=\"http://www.sonyclassics.com/beatsrhymesandlife/\" target=\"_blank\" rel=\"noopener noreferrer\">uncomfortable documentary\u003c/a> about Tribe, with heaps of drama and little about their artistry, must have been tough. Seeing Q-Tip’s solo albums \u003ca href=\"http://www.metroactive.com/bohemian/12.24.08/music-0852.html\" target=\"_blank\" rel=\"noopener noreferrer\">top critic’s lists\u003c/a> must have been tough. I’ll echo what others are saying: I hope they made peace.\u003c/p>\n\u003cp>Why? Why do we care so much about those two being good with each other? People we never met? Because as confused kids ourselves, trying to \u003ca href=\"https://www.youtube.com/watch?v=qciFbvXaX3Q\" target=\"_blank\" rel=\"noopener noreferrer\">find our way\u003c/a>, the magic they made together told us that there was a better world. It could be attained out of nothing but our friends, our talent, our collective personalities and our close bond. And it could be expressed in the simplest of words:\u003c/p>\n\u003cp>\u003cem>You on point, Phife?\u003c/em>\u003c/p>\n\u003cp>\u003cem>All the time, Tip.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Phife Dawg from A Tribe Called Quest was the McCartney to Q-Tip's Lennon—an instantly relatable MC whose lyrics are woven into the fabric of hip-hop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>First, let’s talk about one of the greatest entrances in all of hip-hop: A Tribe Called Quest’s “Buggin’ Out” begins with a single bass line, loping around a rootless, vague key, when the drums come in… \u003cem>on the two\u003c/em>? And Phife starts rapping to establish the downbeat… \u003cem>on the three\u003c/em>? We’re already disoriented. Phife sets us straight:\u003c/p>\n\u003cp>\u003cem>Microphone check, one two, what is this? / The five-foot assassin with the roughneck business\u003cbr />\nI float like gravity / never had a cavity / Got more rhymes than the Winans got family\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P9oTCzWRuvQ'\n title='//www.youtube.com/embed/P9oTCzWRuvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We had arguments, my friends and I, over who delivered the better opening line: Q-Tip’s “\u003ca href=\"https://www.youtube.com/watch?v=NZWS6CITutY\" target=\"_blank\" rel=\"noopener noreferrer\">Back in the days when I was a teenager\u003c/a>” vs. Phife’s “Microphone check, one two, what is this.” We vacillated. We knew one thing, at least, in my circle of friends: if “Buggin’ Out” came on and you nailed the off-time entrance, you were good. Q-Tip’s lines may have \u003ca href=\"http://abmnewyork.blogspot.com/2008/07/tribe-called-quest-x-alife.html\" target=\"_blank\" rel=\"noopener noreferrer\">made T-shirts\u003c/a>, but Phife guides “Buggin’ Out” in all its lopsided glory. \u003ca href=\"http://ontheblockshop.tumblr.com/post/136667569371/styles-upon-styles-upon-styles-is-what-we-have\" target=\"_blank\" rel=\"noopener noreferrer\">Styles upon styles upon styles\u003c/a>, indeed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phife Dawg, who \u003ca href=\"http://www.rollingstone.com/music/news/a-tribe-called-quests-phife-dawg-dead-at-45-20160323\" target=\"_blank\" rel=\"noopener noreferrer\">died\u003c/a> at the age of 45 at his home near Antioch, in Contra Costa County, was hip-hop royalty while still seeming like one of us. Q-Tip gets most of the credit for Tribe, of course, and he deserves plenty for finding Tribe’s samples, producing songs, crafting their structure. But whereas Tip was smooth, distant, impossibly cool, Phife was instantly relatable. He was \u003ca href=\"http://www.usatoday.com/story/life/entertainthis/2016/03/23/mac-miller-remembers-phife-dawg-new-song-5-foot-assassin/82156952/\" target=\"_blank\" rel=\"noopener noreferrer\">short\u003c/a>, he had \u003ca href=\"http://genius.com/67291\" target=\"_blank\" rel=\"noopener noreferrer\">diabetes\u003c/a>, he was a little insecure about \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">his crushes\u003c/a>, and all these things made his successes on the mic more exhilarating.\u003c/p>\n\u003cfigure id=\"attachment_11430606\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg\" alt=\"'Check the Rhime' 12", A Tribe Called Quest, 1993.\" width=\"640\" height=\"631\" class=\"size-large wp-image-11430606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-1180x1163.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-400x394.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-609x600.jpg 609w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-768x757.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-960x946.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tribe.Check_.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">‘Check the Rhime’ 12″, A Tribe Called Quest, 1993.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a function of social media, in the wake of celebrity death, to don rose-colored glasses. But seeing hundreds of thousands of people \u003ca href=\"https://twitter.com/search?q=%23RIPPhife&src=typd\" target=\"_blank\" rel=\"noopener noreferrer\">type his lines into their phones\u003c/a> all over the world makes a case that \u003ca href=\"https://www.youtube.com/watch?v=F3PW2dXh0dk\" target=\"_blank\" rel=\"noopener noreferrer\">on the boulevard of Linden\u003c/a>, Phife owned the more memorable ones:\u003c/p>\n\u003cp>\u003cem>Now here’s a funky introduction of how nice I am\u003cbr />\nTell your mother, tell your father, send a telegram\u003c/em>\u003c/p>\n\u003cp>\u003cem>I like ’em brown, yellow, Puerto Rican or Haitian\u003cbr />\nName is Phife Dawg from the Zulu Nation\u003c/em>\u003c/p>\n\u003cp>\u003cem>I never half-step ’cause I’m not a half-stepper\u003cbr />\nDrink a lot of soda so they call me Dr. Pepper\u003c/em>\u003c/p>\n\u003cp>These lines are woven into the fabric of rap music, and for a certain generation of hip-hop fans, it’s impossible to think of Phife in any objective, non-personal way. (When my daughter was born and we brought her home from the hospital, \u003cem>The Low End Theory\u003c/em> was \u003ca href=\"https://www.instagram.com/p/BDTW80TySZs/\" target=\"_blank\" rel=\"noopener noreferrer\">the first album we played\u003c/a> for her.) He \u003ca href=\"https://www.youtube.com/watch?v=d6OuoH7WDPI\" target=\"_blank\" rel=\"noopener noreferrer\">used to have a crush on Dawn from En Vogue\u003c/a>. Who didn’t? Phife was your friend who got picked on in school, but who one day showed everyone just how smart and funny he was inside, and then nothing’s ever the same in your circle of friends since.\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/PTwKWV5Sx94'\n title='//www.youtube.com/embed/PTwKWV5Sx94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whatever rift existed between Q-Tip and Phife, in the moments the two reunited – locally, at the Berkeley Community Theater in 2006, Outside Lands in 2009, or Rock the Bells in 2010 – Tribe brought simple unadulterated joy. When the two were split, it was a shame. For Phife, who spent his last years \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\" rel=\"noopener noreferrer\">living quietly\u003c/a> in Contra Costa County and battling diabetes, the extended hiatus must have been tough. The \u003ca href=\"http://www.sonyclassics.com/beatsrhymesandlife/\" target=\"_blank\" rel=\"noopener noreferrer\">uncomfortable documentary\u003c/a> about Tribe, with heaps of drama and little about their artistry, must have been tough. Seeing Q-Tip’s solo albums \u003ca href=\"http://www.metroactive.com/bohemian/12.24.08/music-0852.html\" target=\"_blank\" rel=\"noopener noreferrer\">top critic’s lists\u003c/a> must have been tough. I’ll echo what others are saying: I hope they made peace.\u003c/p>\n\u003cp>Why? Why do we care so much about those two being good with each other? People we never met? Because as confused kids ourselves, trying to \u003ca href=\"https://www.youtube.com/watch?v=qciFbvXaX3Q\" target=\"_blank\" rel=\"noopener noreferrer\">find our way\u003c/a>, the magic they made together told us that there was a better world. It could be attained out of nothing but our friends, our talent, our collective personalities and our close bond. And it could be expressed in the simplest of words:\u003c/p>\n\u003cp>\u003cem>You on point, Phife?\u003c/em>\u003c/p>\n\u003cp>\u003cem>All the time, Tip.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life, throughout his music career.\u003c/p>\n\u003cp>The rapper’s family confirmed Wednesday that \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/why-phife-mattered-remembering-hip-hops-relatable-mc/\" target=\"_blank\">Phife died at age 45\u003c/a> at his home near Antioch due to complications resulting from diabetes, sparking a wave of disease-related tributes on social media.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor. \u003ca href=\"https://t.co/ofG6ATsq02\">pic.twitter.com/ofG6ATsq02\u003c/a>\u003c/p>\n\u003cp>— Youth Speaks (@youthspeaks) \u003ca href=\"https://twitter.com/youthspeaks/status/712686618096771072\">March 23, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>“Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor,” Youth Speaks posted on Twitter.\u003c/p>\n\u003cp>Phife, born Malik Taylor, was diagnosed with diabetes when he was 19. It was May 1990, just one month after Tribe released its first album. Phife later talked about his struggle with the disease in interviews, and even rapped about it.\u003c/p>\n\u003cp>“Mr. Energetic, who me sound pathetic?/When’s the last time you heard a funky diabetic?” he rhymed in Tribe’s 1993 song “\u003ca href=\"http://genius.com/A-tribe-called-quest-oh-my-god-lyrics\" target=\"_blank\">Oh My God\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2010, Phife told the \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\">East Bay Express\u003c/a> that he was working on a solo album, \"Songs in the Key of Phife,\" though it was never released. Reporter David MacFadden-Elliott got to hear a few samples in the IHOP parking lot after the interview, including a song about diabetes called “God Send.”\u003c/p>\n\u003cblockquote>\u003cp>“[It’s] a three-part song that turns from a smooth love joint into a warning from a doctor: 'You got to start dialysis.' The news ushers in a discordant, claustrophobic, pulsing beat that rocks, while voice-mail messages of support play for minutes on end. The song concludes with an emotional verse of thanks: \u003cem>If it wasn't for y'all/Who knows what would have happened?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>It was a couple years after Phife’s initial diagnosis before he opened up about it, or even really took care of himself.\u003c/p>\n\u003cp>[contextly_sidebar id=\"TJXUTnoR8uufGFRG5wvhJikCbmLNY4hZ\"]His coming out was in a video interview on \u003ca href=\"http://www.dlife.com/dlifetv/video/phife-dawgs-dlife\" target=\"_blank\">dLife\u003c/a>, a website devoted to living with diabetes. He described finding out about his diagnosis. He was riding home from a concert in 1990 and kept asking the driver to pull over so he could go to the bathroom. He was really thirsty. When he got home, his grandmother, a nurse, did a test and confirmed he was diabetic.\u003c/p>\n\u003cp>“I thought it was over,” he told dLife. “I just automatically thought I was done rapping.”\u003c/p>\n\u003cp>He went into denial.\u003c/p>\n\u003cp>“I was just an idiot,” he said. “I still thought I was everybody else -- Twinkies, Suzie Qs, potato chips -- junk food anonymous.”\u003c/p>\n\u003cp>In 1992, Tribe was on \"The David Letterman Show\" and then immediately had to go to another shoot for \"The Dennis Miller Show.\" Pfife's blood sugar count was almost in the thousands -- normal levels are between 70 and 100.\u003c/p>\n\u003cp>“Everything was slow motion,” Phife described. “I couldn’t even do the show. I had to get hospitalized.”\u003c/p>\n\u003cp>Even then, he still struggled to get enough exercise and eat right.\u003c/p>\n\u003cp>“I’d get on the diet. Wouldn’t stick to the diet. Get back on diet, wouldn’t stick to the diet,” he said. “And it just got to point where I had to be put on dialysis.”\u003c/p>\n\u003cp>Phife was eventually put on a waiting list for a kidney transplant, and received one from his wife in 2008. By 2013, he was back on dialysis and back on the transplant list. In an interview with \u003ca href=\"http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=455764350&m=455936755\" target=\"_blank\">NPR\u003c/a> earlier this year, he talked about waiting for another kidney.\u003c/p>\n\u003cp>“I’m doing fine,” he said. “I really, really can’t complain. I could. But I won’t because God is really, really a good God.”\u003c/p>\n\u003cp>But he also had a message for other young people newly diagnosed with diabetes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not a game. You can lose your life because of this,” he said during the dLife interview. “You need to love yourself, love your life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rapper Phife Dawg, of the iconic group Tribe Called Quest, is continuing to raise awareness around diabetes in his death, as he did in life, throughout his music career.\u003c/p>\n\u003cp>The rapper’s family confirmed Wednesday that \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/why-phife-mattered-remembering-hip-hops-relatable-mc/\" target=\"_blank\">Phife died at age 45\u003c/a> at his home near Antioch due to complications resulting from diabetes, sparking a wave of disease-related tributes on social media.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor. \u003ca href=\"https://t.co/ofG6ATsq02\">pic.twitter.com/ofG6ATsq02\u003c/a>\u003c/p>\n\u003cp>— Youth Speaks (@youthspeaks) \u003ca href=\"https://twitter.com/youthspeaks/status/712686618096771072\">March 23, 2016\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>“Rest in peace and poetry, Phife Dawg. We will continue the fight against Diabetes in your honor,” Youth Speaks posted on Twitter.\u003c/p>\n\u003cp>Phife, born Malik Taylor, was diagnosed with diabetes when he was 19. It was May 1990, just one month after Tribe released its first album. Phife later talked about his struggle with the disease in interviews, and even rapped about it.\u003c/p>\n\u003cp>“Mr. Energetic, who me sound pathetic?/When’s the last time you heard a funky diabetic?” he rhymed in Tribe’s 1993 song “\u003ca href=\"http://genius.com/A-tribe-called-quest-oh-my-god-lyrics\" target=\"_blank\">Oh My God\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2010, Phife told the \u003ca href=\"http://www.eastbayexpress.com/oakland/phife-dawgs-triumphal-return/Content?oid=2043994\" target=\"_blank\">East Bay Express\u003c/a> that he was working on a solo album, \"Songs in the Key of Phife,\" though it was never released. Reporter David MacFadden-Elliott got to hear a few samples in the IHOP parking lot after the interview, including a song about diabetes called “God Send.”\u003c/p>\n\u003cblockquote>\u003cp>“[It’s] a three-part song that turns from a smooth love joint into a warning from a doctor: 'You got to start dialysis.' The news ushers in a discordant, claustrophobic, pulsing beat that rocks, while voice-mail messages of support play for minutes on end. The song concludes with an emotional verse of thanks: \u003cem>If it wasn't for y'all/Who knows what would have happened?”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>It was a couple years after Phife’s initial diagnosis before he opened up about it, or even really took care of himself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>His coming out was in a video interview on \u003ca href=\"http://www.dlife.com/dlifetv/video/phife-dawgs-dlife\" target=\"_blank\">dLife\u003c/a>, a website devoted to living with diabetes. He described finding out about his diagnosis. He was riding home from a concert in 1990 and kept asking the driver to pull over so he could go to the bathroom. He was really thirsty. When he got home, his grandmother, a nurse, did a test and confirmed he was diabetic.\u003c/p>\n\u003cp>“I thought it was over,” he told dLife. “I just automatically thought I was done rapping.”\u003c/p>\n\u003cp>He went into denial.\u003c/p>\n\u003cp>“I was just an idiot,” he said. “I still thought I was everybody else -- Twinkies, Suzie Qs, potato chips -- junk food anonymous.”\u003c/p>\n\u003cp>In 1992, Tribe was on \"The David Letterman Show\" and then immediately had to go to another shoot for \"The Dennis Miller Show.\" Pfife's blood sugar count was almost in the thousands -- normal levels are between 70 and 100.\u003c/p>\n\u003cp>“Everything was slow motion,” Phife described. “I couldn’t even do the show. I had to get hospitalized.”\u003c/p>\n\u003cp>Even then, he still struggled to get enough exercise and eat right.\u003c/p>\n\u003cp>“I’d get on the diet. Wouldn’t stick to the diet. Get back on diet, wouldn’t stick to the diet,” he said. “And it just got to point where I had to be put on dialysis.”\u003c/p>\n\u003cp>Phife was eventually put on a waiting list for a kidney transplant, and received one from his wife in 2008. By 2013, he was back on dialysis and back on the transplant list. In an interview with \u003ca href=\"http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=455764350&m=455936755\" target=\"_blank\">NPR\u003c/a> earlier this year, he talked about waiting for another kidney.\u003c/p>\n\u003cp>“I’m doing fine,” he said. “I really, really can’t complain. I could. But I won’t because God is really, really a good God.”\u003c/p>\n\u003cp>But he also had a message for other young people newly diagnosed with diabetes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not a game. You can lose your life because of this,” he said during the dLife interview. “You need to love yourself, love your life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s \u003ca href=\"http://www.coltranechurch.org/\" target=\"_blank\" rel=\"noopener\">St. John Coltrane Church \u003c/a>dodged an eviction last month, but still faces the task of finding a permanent home.\u003c/p>\n\u003cp>[contextly_sidebar id=”uAXOWSyjhIgrqqKthoxyXPrd7Lmt6Bfw”]\u003c/p>\n\u003cp>Church leaders told KQED Tuesday that they’ll vacate their storefront location in the \u003ca href=\"http://www.westbaysf.org/\" target=\"_blank\" rel=\"noopener\">West Bay Conference Center \u003c/a>in the city’s Fillmore District, after services conclude on Sunday, April 24.\u003c/p>\n\u003cp>In return, an attorney for the landlord said in a statement it will dismiss the eviction action against the church.\u003c/p>\n\u003cp>Pastor Wanika King says the lifting of the eviction notice is hardly a victory for the church. “We still are faced with the very real reality of being homeless on the 30th,” King said in an interview Tuesday. “We’ll be couch surfing at that point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King said the 48 year old church, known internationally for its devotion to Coltrane’s masterful album \u003cem>A Love Supreme,\u003c/em> is still looking for a temporary location to conduct services, but it’s begun a fundraising campaign on \u003ca href=\"https://www.generosity.com/community-fundraising/help-save-the-coltrane-church--2\" target=\"_blank\" rel=\"noopener\">Generosity.com\u003c/a> in hopes of purchasing its own space in the same neighborhood.\u003c/p>\n\u003cp>In their Generosity.com fundraising pitch, the “Coltrane Church” says it’s being forced out of its home because “The present political climate of profit over people continues to devastate the African American population of the Fillmore.”\u003c/p>\n\u003cp>In its statement to reporters, the West Bay Conference Center wrote that, “In a perfect world, we would provide that space at no cost. Unfortunately, however, West Bay operates in the same ruthless economy that has engulfed the entire Fillmore District.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Coltrane church has raised $7523, according to the Generosity.com website. King said the church hopes to raise a $1 million toward the purchase of a permanent space.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King said the 48 year old church, known internationally for its devotion to Coltrane’s masterful album \u003cem>A Love Supreme,\u003c/em> is still looking for a temporary location to conduct services, but it’s begun a fundraising campaign on \u003ca href=\"https://www.generosity.com/community-fundraising/help-save-the-coltrane-church--2\" target=\"_blank\" rel=\"noopener\">Generosity.com\u003c/a> in hopes of purchasing its own space in the same neighborhood.\u003c/p>\n\u003cp>In their Generosity.com fundraising pitch, the “Coltrane Church” says it’s being forced out of its home because “The present political climate of profit over people continues to devastate the African American population of the Fillmore.”\u003c/p>\n\u003cp>In its statement to reporters, the West Bay Conference Center wrote that, “In a perfect world, we would provide that space at no cost. Unfortunately, however, West Bay operates in the same ruthless economy that has engulfed the entire Fillmore District.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Coltrane church has raised $7523, according to the Generosity.com website. King said the church hopes to raise a $1 million toward the purchase of a permanent space.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A tearful, beloved cartoon adventurer, Tintin, quickly emerged as a symbol of solidarity in the chaotic aftermath of the Brussels bombings as social media users worldwide took to Facebook and other Web streams for check ins by loved ones potentially in harm’s way.\u003c/p>\n\u003cp>On Twitter, on Instagram and elsewhere around the internet, the red-haired reporter in his signature trench coat with his white dog Snowy — the creations of Belgian cartoonist Herge — were shared as shocked and saddened versions of their usually indomitable and irrepressible selves.\u003c/p>\n\u003cp>Some cartoonists drew “too soon” criticism for depicting the stars of the comic series The \u003cem>Adventures of Tintin\u003c/em> — made into a movie in 2011 by Steven Spielberg — as bloodied and battered.\u003c/p>\n\u003cp>Others on social media borrowed from the January 2015 Charlie Hebdo tragedy, using the hashtag #JeSuisBruxelles, or “I am Brussels,” just as those after the Paris attacks did when spreading the sentiment “JeSuisCharlie.”\u003c/p>\n\u003cp>Facebook, meanwhile, activated its “safety check” system yet again to help Tuesday within hours of the three deadly explosions at the Brussels airport and a metro station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\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>\u003c/p>\n\u003cp>The system can provide an easy way for people to mark themselves as “safe” after a major disaster or crisis so that people searching for them will know they are unharmed. It has been used recently to help people communicate after major floods, earthquakes and other deadly attacks.\u003c/p>\n\u003cp>Facebook first deployed the service after the 2011 Fukushima tsunami and nuclear disaster in Japan. The company said it is still “working through” how and when it should be used. It was activated six times last year, providing notifications to more than 950 million people.\u003c/p>\n\u003cp>The Tintin cartoon books have been translated into 70-plus languages, from Chinese to Armenian, English to Spanish, just as social media users are lending their languages and voices of outrage, fear, defiance and concern to the cacophony following the blasts in Brussels.\u003c/p>\n\u003cp>The books have sold in the tens of millions of copies, but only in Belgium has the fearless reporter and his dog been ingrained in the DNA of most youngsters since the 1950s. Herge died in 1983 and is considered a national treasure in his native Belgium.\u003c/p>\n\u003cp>A more popular version of the Tintin meme in response to the explosions has him shedding a single tear as he hovers over a newspaper with a headline about the explosions, pal Snowy shaking nearby. Tintin utters “Mon Dieu,” or “My God.”\u003c/p>\n\u003cp>Accompanying Tintin in the flood of social media sentiment were altered images of Manneken Pis, a bronze statue of a naked boy urinating into a fountain’s basin not far from Brussels Town Hall.\u003c/p>\n\u003cp>One showed the boy as a simple red line drawing against a black background as he urinated from on high onto a machine gun. Another had him doing the same on taped-together sticks of dynamite with the words: “Pis and Love,” a peace sign drawn into the letter o.\u003c/p>\n\u003cp>The boy, dating to around 1619, was created by Brussels sculptor Hieronimus Duquesnoy the Elder. He’s the father of sculptor François Duquesnoy. The statue has been repeatedly stolen and replaced. It is dressed in costumes on a regular weekly schedule, his wardrobe of several hundred outfits permanently housed in a museum.\u003c/p>\n\u003cp>Elsewhere around the Web, kind-hearted Belgians were tweeting offers of shelter to stranded travelers using the hashtag “PorteOuverte” or “OpenHouse” for non-French speakers. One in Antwerp threw in “food and Belgian beers for 1-3 people.”\u003c/p>\n\u003cp>Others taking to social media found comfort in sharing YouTube clips, photos and drawings of another famous figure in Belgium, singer-songwriter-actor Jacques Brel, who was known for his soothing ballads.\u003c/p>\n\u003cp>The straightforward hashtag “Brussels” continued with “JeSuisBruxelles” through the day on Twitter around the world, also accompanied by “PrayForBelgium.” Comment threads included “Tous Ensemble,” or “All Together,” but some social media users were more defiant.\u003c/p>\n\u003cp>An image of a cluster of Belgium’s famous “frites,” with one French fry standing above the others in a middle-finger salute, was accompanied by “I dont pray #jesuisbelge,” the latter for “I Am Belgian.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Raf Casert in Brussels and Brandon Bailey in San Francisco contributed to this report.\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": "Chuck Prophet Releases 'Alex Nieto,' New Song Written After Jury Verdict",
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"content": "\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/253966569″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chuck Prophet simply did not know what to do.\u003c/p>\n\u003cp>He’d seen his city overrun with tech workers \u003ca href=\"http://sfist.com/2015/09/28/startup_doze_brings_nap_time_to_tir.php\" target=\"_blank\" rel=\"noopener\">babying themselves\u003c/a>, billionaires \u003ca href=\"http://www.nytimes.com/2015/10/23/business/media/airbnb-ads-flop-in-san-francisco.html?_r=0\" target=\"_blank\" rel=\"noopener\">passive-aggressively fighting regulation\u003c/a> and menus \u003ca href=\"http://sfist.com/2015/08/20/the_tk_best_pieces_of_toast_in_san.php\" target=\"_blank\" rel=\"noopener\">full of artisanal toast\u003c/a>. But when a jury decided that officers did not use excessive force in the killing of Alex Nieto — a killing involving between 48 and 59 bullets shot into his body — Prophet says, “I never dreamed I would be in the middle of a war. A real culture war.”\u003c/p>\n\u003cp>And so the San Francisco songwriter sat in his small SOMA studio with his friend, Kurt Lipschutz, and started strumming a single, minor-key chord. The words came to him from somewhere else, the song writing itself:\u003c/p>\n\u003cp>\u003cem>Alex Nieto was a pacifist / a 49ers fan\u003cbr>\nHe left for work one day at 4:15 / never made it home again\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/253966569″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/253966569″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Alex Nieto’s death is the result of gentrification,” Prophet told me Tuesday, two years after Nieto’s death, echoing a \u003ca href=\"http://www.theguardian.com/us-news/2016/mar/21/death-by-gentrification-the-killing-that-shamed-san-francisco\" target=\"_blank\" rel=\"noopener\">recent piece\u003c/a> by Rebecca Solnit that placed Nieto’s killing in the context of modern-day San Francisco. “It’s directly tied to someone feeling threatened by a 49ers jacket and thinking it represents a gang. What gang are we talking about? What gang goes after young white people walking their dog? That’s just ignorance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prophet has a personal stake in the changing face of his city — his 2012 album \u003cem>Temple Beautiful\u003c/em> served as a historic love letter to San Francisco. But like many other artists, he can’t find much that’s positive in the boom of the past few years.\u003c/p>\n\u003cp>“The real damage is when things come in waves. That’s when it really rolls over people, historically,” he says. “The first wave, when we first became Startup City USA, was really different. This time around, these young programmers, they’re not content to eat at the Olive Garden down in Cupertino. They want the cool stuff — they want Dolores Park, they want the food trucks. They want our culture. That’s the major difference.”\u003c/p>\n\u003cp>Not that Prophet, who recently organized an all-star concert at City Hall covering the city’s vast musical history, would cram his song for Alex Nieto with such context.\u003c/p>\n\u003cp>“With songs,” he says, “it’s not journalism. You wanna say as much as you can with as few words as possible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://soundcloud.com/chuckprophet/alex-nieto-chuck-prophet\" target=\"_blank\" rel=\"noopener\">Listen to “Alex Nieto” here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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