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"content": "\u003cp>\u003ca href=\"http://deehibbert-jones.ucsc.edu/index.html\" target=\"_blank\" rel=\"noopener\">Dee Hibbert-Jones\u003c/a> and \u003ca href=\"http://www.nomitalisman.info/\" target=\"_blank\" rel=\"noopener\">Nomi Talisman\u003c/a>, San Francisco-based artists, activists and educators, have a long history of confronting social injustices through their art practices. Their collaborative work — which includes performances addressing the bureaucratic slog of their attempts to get Talisman a U.S. visa (back when same-sex couples had no legal standing) — has now taken the form of animated documentary filmmaking.\u003c/p>\n\u003cfigure id=\"attachment_10964435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10964435\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg\" alt=\"Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators).\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators). \u003ccite>(Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo’s short \u003cem>\u003ca href=\"http://www.lastdayoffreedom.net/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, currently traveling the film festival circuit, is centered on Bill Babbitt and the story of his younger brother Manny. Bill narrates the life events that took Manny from childhood happiness to adult instability. When Bill suspects Manny is responsible for a terrible crime, he must turn his brother in, a heartbreaking decision that leads to Manny’s murder conviction and execution by the state of California.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The California Report talks with the filmmakers:\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/227716646″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003c/aside>\n\u003cp>Rendered through hand-drawn cells with a deep sensitivity to emotion and gesture, \u003cem>Last Day of Freedom\u003c/em> humanizes its subjects through a meticulous attention to detail. The short opens season 11 of KQED’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>\u003c/em> on Sunday, Oct. 25 at 6pm, but you can watch it online today. I visited the artists in their Mission District home to find out more about the making of the film.\u003c/p>\n\u003cp>https://youtu.be/6uUqUEGAa4A\u003c/p>\n\u003cp>\u003cstrong>The story is told so beautifully by Bill. Did you ever consider including narration from another source, or contributing any authorial hand on your part?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We were really clear that we didn’t want ourselves in the story, either. We wanted the story to be told from the perspective of someone who’s directly impacted. We hoped to reach the viewer emotionally, rather than pull you out and analyze the story. To show you a perspective that you don’t usually hear, and you don’t usually see, that allows the viewer to walk in Bill’s shoes.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> While our advisers gave us ideas of some ways to Bill’s story, we never imagined their commentary would be part of the film.\u003c/p>\n\u003cp>\u003cstrong>There’s a real mix of visual styles in the film — from line drawings to splashes of color to more fuzzy charcoal-like renderings. How did you make the decision to animate parts of the story in certain ways?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Hands640.jpg\" alt=\"Still from 'Last Day of Freedom,' Bill Babbitt.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Bill Babbitt. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We talked a lot about metaphors. We thought hard about how we wanted Bill drawn. He would be strong, but with a thin line that’s almost so delicate that — if you’re not careful — it could break. We were really sure that we wanted the archival footage to feel as if it was from a particular time. For the rest, we started to think about in those moments where Manny’s mental state is devolving and Bill is losing control. Basically you start having these moments where the war is coming back. I think the hardest piece to animate was, obviously, the execution. This is partly why we decided to make it almost completely blank, so you had to pay attention and just listen to what Bill was saying.\u003c/p>\n\u003cp>\u003cstrong>You didn’t have actual footage of the trial, but at that point in the narrative, the animation really shows how they were reduced to a case that was being passed from hand to hand, where compassion was replaced with political maneuverings.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Trial640.jpg\" alt=\"Still from 'Last Day of Freedom,' the lawyers.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ the lawyers. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> We wanted to represent bureaucracy. You see a lot of stamping and papers.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> And hands.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> It’s political.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We basically started looking at political campaigns online, just for inspiration. To see, “Oh, yeah, there’s the dancing girls, and the handshaking,” and what is that bureaucratic thing? Every time we drove by a poster, or browsed a newspaper we’d go, “See? That’s the imagery we want.”\u003c/p>\n\u003cp>\u003cstrong>As romantic partners, how did you arrive at this collaborative practice? Did you find it was a natural outcome of your relationship?\u003cbr>\n\u003c/strong>\u003cbr>\n\u003cstrong>Nomi:\u003c/strong> Well, we fight well! We know how to argue and come out with a better solution.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Partly, it’s infuriating to collaborate with anybody. It’s really annoying. On the other hand, it’s more than the sum of what you could do on your own. We found with Nomi’s background in media and photography, and mine in public engagement, new media and drawing, we brought other components to the project.\u003c/p>\n\u003cp>\u003cstrong>The film is made up of somewhere around 32,000 individual drawings and you spent four years on this project. How did you manage that?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Flag640.png\" alt=\"Still from 'Last Day of Freedom,' Manny's funeral.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Manny’s funeral. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Once we had a radio cut of Bill’s audio we drew animations for two years straight. The animation was taking us so long we realized we’d be there for the rest of our lives, so we worked with a small group of animators to do the in-between drawings, once we designed each image. We never realized how tight our drawing styles are, what our understanding of the project was, until we started trying to work with other people.\u003c/p>\n\u003cp>\u003cstrong>How does running the film festival circuit compare to operating in the gallery and fine arts world?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> Somebody I know said the filmmaking process is not necessarily democratic, but it has to be collaborative. Filmmakers know that even when they do everything themselves, they still have to work with other people on sound design, post production, etc. Creating art projects can often be a much more isolated process. In documentary, you have to deal with real things. There’s something really refreshing about actually dealing with some reality or people who care about things beyond the aesthetics, or beyond themselves and beyond their own practice.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> I think most significantly the potential reach of the work seems broader. Creating something for a gallery or a museum, it stays within the walls. This travels.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://deehibbert-jones.ucsc.edu/index.html\" target=\"_blank\" rel=\"noopener\">Dee Hibbert-Jones\u003c/a> and \u003ca href=\"http://www.nomitalisman.info/\" target=\"_blank\" rel=\"noopener\">Nomi Talisman\u003c/a>, San Francisco-based artists, activists and educators, have a long history of confronting social injustices through their art practices. Their collaborative work — which includes performances addressing the bureaucratic slog of their attempts to get Talisman a U.S. visa (back when same-sex couples had no legal standing) — has now taken the form of animated documentary filmmaking.\u003c/p>\n\u003cfigure id=\"attachment_10964435\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10964435\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg\" alt=\"Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators).\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/LastDayCover-960x540.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Filmmakers Dee Hibbert-Jones and Nomi Talisman (Producers, directors, key animators). \u003ccite>(Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The duo’s short \u003cem>\u003ca href=\"http://www.lastdayoffreedom.net/\" target=\"_blank\" rel=\"noopener\">Last Day of Freedom\u003c/a>\u003c/em>, currently traveling the film festival circuit, is centered on Bill Babbitt and the story of his younger brother Manny. Bill narrates the life events that took Manny from childhood happiness to adult instability. When Bill suspects Manny is responsible for a terrible crime, he must turn his brother in, a heartbreaking decision that leads to Manny’s murder conviction and execution by the state of California.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>The California Report talks with the filmmakers:\u003c/h3>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/227716646″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/227716646″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>Rendered through hand-drawn cells with a deep sensitivity to emotion and gesture, \u003cem>Last Day of Freedom\u003c/em> humanizes its subjects through a meticulous attention to detail. The short opens season 11 of KQED’s \u003cem>\u003ca href=\"http://ww2.kqed.org/trulyca/\" target=\"_blank\" rel=\"noopener\">Truly CA\u003c/a>\u003c/em> on Sunday, Oct. 25 at 6pm, but you can watch it online today. I visited the artists in their Mission District home to find out more about the making of the film.\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/6uUqUEGAa4A'\n title='//www.youtube.com/embed/6uUqUEGAa4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The story is told so beautifully by Bill. Did you ever consider including narration from another source, or contributing any authorial hand on your part?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We were really clear that we didn’t want ourselves in the story, either. We wanted the story to be told from the perspective of someone who’s directly impacted. We hoped to reach the viewer emotionally, rather than pull you out and analyze the story. To show you a perspective that you don’t usually hear, and you don’t usually see, that allows the viewer to walk in Bill’s shoes.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> While our advisers gave us ideas of some ways to Bill’s story, we never imagined their commentary would be part of the film.\u003c/p>\n\u003cp>\u003cstrong>There’s a real mix of visual styles in the film — from line drawings to splashes of color to more fuzzy charcoal-like renderings. How did you make the decision to animate parts of the story in certain ways?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964438\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Hands640.jpg\" alt=\"Still from 'Last Day of Freedom,' Bill Babbitt.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Hands640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Bill Babbitt. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We talked a lot about metaphors. We thought hard about how we wanted Bill drawn. He would be strong, but with a thin line that’s almost so delicate that — if you’re not careful — it could break. We were really sure that we wanted the archival footage to feel as if it was from a particular time. For the rest, we started to think about in those moments where Manny’s mental state is devolving and Bill is losing control. Basically you start having these moments where the war is coming back. I think the hardest piece to animate was, obviously, the execution. This is partly why we decided to make it almost completely blank, so you had to pay attention and just listen to what Bill was saying.\u003c/p>\n\u003cp>\u003cstrong>You didn’t have actual footage of the trial, but at that point in the narrative, the animation really shows how they were reduced to a case that was being passed from hand to hand, where compassion was replaced with political maneuverings.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964439\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964439\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Trial640.jpg\" alt=\"Still from 'Last Day of Freedom,' the lawyers.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Trial640-400x225.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ the lawyers. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> We wanted to represent bureaucracy. You see a lot of stamping and papers.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> And hands.\u003c/p>\n\u003cp>\u003cstrong>Nomi:\u003c/strong> It’s political.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> We basically started looking at political campaigns online, just for inspiration. To see, “Oh, yeah, there’s the dancing girls, and the handshaking,” and what is that bureaucratic thing? Every time we drove by a poster, or browsed a newspaper we’d go, “See? That’s the imagery we want.”\u003c/p>\n\u003cp>\u003cstrong>As romantic partners, how did you arrive at this collaborative practice? Did you find it was a natural outcome of your relationship?\u003cbr>\n\u003c/strong>\u003cbr>\n\u003cstrong>Nomi:\u003c/strong> Well, we fight well! We know how to argue and come out with a better solution.\u003c/p>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Partly, it’s infuriating to collaborate with anybody. It’s really annoying. On the other hand, it’s more than the sum of what you could do on your own. We found with Nomi’s background in media and photography, and mine in public engagement, new media and drawing, we brought other components to the project.\u003c/p>\n\u003cp>\u003cstrong>The film is made up of somewhere around 32,000 individual drawings and you spent four years on this project. How did you manage that?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10964437\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10964437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Flag640.png\" alt=\"Still from 'Last Day of Freedom,' Manny's funeral.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Flag640-400x225.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Last Day of Freedom,’ Manny’s funeral. \u003ccite>(Dee Hibbert-Jones & Nomi Talisman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dee:\u003c/strong> Once we had a radio cut of Bill’s audio we drew animations for two years straight. 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There’s something really refreshing about actually dealing with some reality or people who care about things beyond the aesthetics, or beyond themselves and beyond their own practice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop",
"headTitle": "Henry Dumas Wrote About Black People Killed By Cops. Then He was Killed by a Cop | KQED",
"content": "\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A young black man, Henry Dumas, went through a turnstile at a New York City subway station,” reads an invitation by Toni Morrison for a posthumous book-launch party she threw for Dumas in 1974, six years after he died. “A transit cop” — who was white — “shot him in the chest and killed him. Circumstances surrounding his death remain unclear. Before that happened, however, he had written some of the most beautiful, moving and profound poetry and fiction that I have ever in my life read.”\u003c/p>\n\u003cfigure id=\"attachment_10990148\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg\" alt=\"Henry Dumas, photographed in New York in the mid-1960s.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10990148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-promo_wide-0cbaef6c3c8291812edd86e496c0874f33fd7dc0.jpg 1497w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dumas, photographed in New York in the mid-1960s. \u003ccite>(Courtesy of Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the nearly 50 years since Henry Dumas was killed, not much more has come to light about what happened on the night of his death. No witnesses came forward to testify. Police records were lost in a bureaucratic shuffle. Harlem, where Dumas moved as a young man after growing up in rural Arkansas, had \u003ca href=\"https://www.baruch.cuny.edu/nycdata/disasters/riots-harlem_1964.html\">erupted\u003c/a> in large-scale protests over the police killings of black and brown men several times before the writer was killed. But Dumas’ death hardly made the news. With so little information to draw from, it’s as if the last pages of his life were torn out.\u003c/p>\n\u003cp>Dumas’ final scene echoed a theme he turned to again and again in his writing: violent confrontations between white men and black men. The work he left behind — short stories that range from hard realism to science fiction, an almost finished novel, volumes of poetry, and even a few accompaniments to the work of the mystical jazz legend Sun Ra — contains bitingly sharp depictions of racial tension in America that, in an almost unbelievably eerie way, speak to his own fate.\u003c/p>\n\u003cp>It is, of course, a fate that many black men and women had and would suffer under dubious circumstances — from \u003ca href=\"http://www.nydailynews.com/news/crime/harlem-riots-1943-echo-today-article-1.2216788\">Robert Bandy\u003c/a> in 1935, \u003ca href=\"http://www.vice.com/read/race-riots-then-and-now-501\">James Powell\u003c/a> in 1964, 10-year-old \u003ca href=\"http://www.nytimes.com/2015/04/17/nyregion/fired-at-queens-boy-fatal-1973-police-shot-still-reverberates.html\">Clifford Glover\u003c/a> in 1973, and \u003ca href=\"http://articles.chicagotribune.com/1999-09-12/news/9909120226_1_officers-lawyer-chicago-police-supt-joseph-roddy\">LaTanya Haggerty\u003c/a> in 1999 to the more recent deaths of Michael Brown, \u003ca href=\"http://www.charlotteobserver.com/news/local/crime/article15728675.html\">Janisha Fonville\u003c/a>, Eric Garner, \u003ca href=\"http://www.cleveland.com/metro/index.ssf/2015/01/tanisha_anderson_was_restraine.html\">Tanisha Anderson\u003c/a> and Freddie Gray, to name only a few.\u003c/p>\n\u003cp>“His work and, in fact, his death, investigated and illustrated the ways in which black lives were at best peripheral to most white people — especially those running and policing the country,” says James Smethurst, a University of Massachusetts, Amherst professor who has written extensively about 1960s and ’70s black writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of Dumas’ writing is considered to be a part of the \u003ca href=\"http://www.english.illinois.edu/maps/blackarts/historical.htm\">Black Arts Movement\u003c/a> — the artistic manifestation of the Black Power struggle of the 1960s — an effort that Smethurst believes has a lot of resonance with the Black Lives Matter movement. While interest in Dumas has increased somewhat in recent years, he says, “We still have a long way to go before he gets the sort of attention he deserves.”\u003c/p>\n\u003cp>\u003cstrong>‘The People Get Tired Of Dying’\u003c/strong>\u003c/p>\n\u003cp>One of the only known accounts of the night Dumas was killed comes from an obituary in \u003cem>The Amsterdam News,\u003c/em> a black-owned newspaper in New York City that was founded in 1909. “Police said Dumas and an unidentified man were scuffling in the subway when the officer walked up to them and attempted to stop the fracas,” the obit reads. “Police said Dumas, resentful at the interference, slashed the officer who shot and killed him.”\u003c/p>\n\u003cp>Without the benefit of photographic evidence or firsthand witnesses to accompany the official police report, it is impossible to know the full story of what happened that night. It’s also impossible to take in Dumas’ story without acknowledging that the \u003ca href=\"http://www.motherjones.com/politics/2015/07/samuel-dubose-cops-corroberating-unarmed-black-death\">track record of believability\u003c/a>, when it comes to official accounts of black deaths at the hands of law enforcement, \u003ca href=\"http://kxan.com/2014/08/22/family-of-woman-shot-killed-by-bastrop-county-sheriffs-deputy-seeks-damages/\">isn’t a clean one\u003c/a>.\u003c/p>\n\u003cp>Dumas wrote stories that echo cases like that of Tamir Rice, a 12-year-old boy in Cleveland who was killed \u003ca href=\"http://www.bbc.com/news/world-us-canada-30220700\">seconds after\u003c/a> a police vehicle pulled up to where he was playing. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature. … The people get tired of dying,” says one of Dumas’ characters in a short story called “Riot or Revolt.”\u003c/p>\n\u003cp>Published most recently in a 2003 collection of Dumas’ work called \u003ca href=\"http://www.amazon.com/Echo-Tree-Collected-Fiction-Movement/dp/1566891493\">Echo Tree\u003c/a>, that story follows a young black man named Harold through the aftermath of violent public protest across Harlem:\u003c/p>\n\u003cblockquote>\n\u003cp>“The police barricades squatted on the sidewalk surrounding each place where mobs had struck.\u003c/p>\n\u003cp>“Harold stood on the ramp in the middle of Seventh Avenue and 125th Street and surveyed the area which the night before had swarmed with police and angry Harlemites. A youth had been slain by the police in Brooklyn.”\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_10990159\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/national-bookstore-800x529.jpg\" alt=\"A view of the National Memorial African Bookstore in Harlem circa 1970.\" width=\"800\" height=\"529\" class=\"size-medium wp-image-10990159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/national-bookstore-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view of the National Memorial African Bookstore in Harlem circa 1970. \u003ccite>(Jack Garofalo/Paris Match via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who have studied Dumas’ life and work believe the fictional LeMoor Brothers’ Bookstore in that story was modeled on the real National Memorial African Bookstore, which stood a short walk from the 135th Street subway station where Dumas was killed. Owned by Lewis Michaux, a bookseller and black civil rights leader who encouraged his neighbors to read the books he stocked on African history, culture and philosophy even if they couldn’t afford to buy them, the store \u003ca href=\"https://www.kirkusreviews.com/book-reviews/vaunda-micheaux-nelson/no-crystal-stair/\">attracted\u003c/a> figures like Malcolm X, Langston Hughes and Muhammad Ali.\u003c/p>\n\u003cp>Not unlike Dumas’ LeMoor, Michaux had a lot to say about black Americans’ struggle for power. “We’ve been neglected for three hundred years,” he\u003ca href=\"http://www.newyorker.com/magazine/1966/09/03/the-professor-4\"> told\u003c/a> a \u003cem>New Yorker\u003c/em> reporter in 1966. “As much as I hate to see what’s going to happen, I believe that when the Negro knocks this time and nobody open the door, he’s just going to knock it right down.”\u003c/p>\n\u003cp>In “Riot or Revolt,” city officials stop in to speak to the owners of LeMoor Brothers’ Bookstore, which had been left untouched by the looters who ravaged nearly every other store on the street. The officers want to know what made his shop so exceptional, but its owner, Micheval LeMoor, takes issue with the fact that city officials seemed to visit Harlem only when its frustrated residents reached a breaking point:\u003c/p>\n\u003cblockquote>\n\u003cp>“You want to come visit here and get the notions about things being better, while right now some disrespectful guardian of the citizens beats a black man’s head in. It doesn’t matter if he’s guilty or not anymore. Your honor, what you are facing is the full anger of a man who has been under attack for years. Unless you call off the attackers, be they merchants, disrespectful policemen, or the American majority, then the black minority is going to tear your house down.”\u003c/p>\n\u003c/blockquote>\n\u003cp>While “Riot or Revolt” may have been closely inspired by actual people if not actual events, other Dumas stories are imaginative forays into allegorical fables and otherworldly realms. Dumas’ vast range captivated many of his fellow writers, before and after his death. The poet and civil rights activist \u003ca href=\"http://www.poetryfoundation.org/bio/haki-madhubuti\">Haki R. Madhubati\u003c/a> called him “a poet of complex melodies,” and Amiri Baraka called him an “Afro-surreal expressionist” who delivered “a new blackness.”\u003c/p>\n\u003cfigure id=\"attachment_10990160\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-books-800x385.jpg\" alt=\"Three of the published works of Dumas.\" width=\"800\" height=\"385\" class=\"size-medium wp-image-10990160\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/10/dumas-books-400x193.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Three of the published works of Dumas. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was impressed with his boldness of language and his boldness of breadth,” Maya Angelou said in a 1988 interview published in an issue of the \u003cem>Black American Literature Forum\u003c/em> dedicated entirely to Dumas’ work. “Dumas continued to set us up for the loneliness, aloneness, and desperation, sometimes even desolation. But he never leaves us there. With him as our guide, we’re always brought through to a better place.”\u003c/p>\n\u003cp>\u003cstrong>‘Part Invitation, Part Consolation’\u003c/strong>\u003c/p>\n\u003cp>By the time Dumas died, just a few of his poems and short stories had been published in small literary journals, geared toward a black audience. Writers and critics who knew him say he would have followed the uphill trajectory of his friends — including Robert Pinsky and Baraka — had he lived.\u003c/p>\n\u003cp>“I think he would’ve been a lot more famous in some respects if he had been able to live and write for 50 more years,” says Smethurst, the University of Massachusetts professor. “What if Toni Morrison had died after she wrote \u003cem>The Bluest Eye\u003c/em> and only had a few stories?”\u003c/p>\n\u003cp>In fact, Morrison played a role in inspiring what Smethurst calls the “cult” of Dumas. She first encountered Dumas in the form of a slim collection published posthumously by Southern Illinois University, where he taught an experimental program during the last year of his life. Then an editor at Random House and the author of \u003cem>The Bluest Eye\u003c/em> and \u003cem>Sula,\u003c/em> Morrison was struck by the circumstances of Dumas’ death and wanted to publish more of his writing.\u003c/p>\n\u003cp>Random House had recently committed itself to publishing more minority writers. Through her position there, Morrison would shepherd through the work of several of the era’s most notable black writers and activists, from Toni Cade Bambara and Gayle Jones to Angela Davis and Huey P. Newton.\u003c/p>\n\u003cp>But she knew that generating attention for Dumas, a writer who was not only practically unknown but also deceased, would not be easy. To create hype for the collections she wanted to release — a book of poetry titled \u003cem>Play Ebony Play Ivory\u003c/em> and a short story collection called \u003cem>Ark of Bones\u003c/em> — Morrison organized a release event with a glamorous guest list comprising the most renowned black writers of the time.\u003c/p>\n\u003cp>“He was thirty-three years old when he was killed,” Morrison wrote in the announcement for the party, a note that was \u003ca href=\"http://www.nytimes.com/2015/04/12/magazine/the-radical-vision-of-toni-morrison.html&assetType=nyt_now?&assetType=nyt_now\">described\u003c/a> as “part invitation, part consolation” in a recent \u003cem>New York Times\u003c/em> profile of Morrison. “But in those thirty-three years he had completed work the quality and quantity of which are almost never achieved in several lifetimes.”\u003c/p>\n\u003cp>\u003cstrong>‘Creative Writing Slave’\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990162\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-teen.jpg\" alt=\"Dumas, when he was a high school student in New York.\" width=\"400\" height=\"498\" class=\"size-full wp-image-10990162\">\u003cfigcaption class=\"wp-caption-text\">Dumas, when he was a high school student in New York. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1934, Dumas was born to Appliance Porter, a 19-year-old housekeeper in Sweet Home, Ark., a small town just outside Little Rock. His father, Henry Dumas Sr., or “Big Henry” as he was called, was largely absent from the life of his son, and his mother worked long hours. With his parents often away, Dumas spent much of his time in the fields where his aunts and uncles picked cotton, milked cows and shared stories.\u003c/p>\n\u003cp>While his cousins were busy playing sports, Dumas’ family recalled to Dumas biographer Jeffrey B. Leak, he preferred to spend his time examining insects or developing skits in which he played all the roles. When Dumas was 10, he and his family followed the course taken by thousands of other black families during the first part of the 20th century by \u003ca href=\"http://www.nytimes.com/2010/09/05/books/review/Oshinsky-t.html?pagewanted=all&_r=0\">moving north\u003c/a>. Dumas brought with him to Harlem an intellectual curiosity that impressed his teachers at his integrated Manhattan high school.\u003c/p>\n\u003cp>It may have been there that Dumas’ individual struggles became part of a more complex struggle: one in which black people searched for belonging in spaces where they were neither warmly welcomed nor explicitly barred. It’s unclear when he began to take up writing seriously, but his move to a more racially diverse environment may have had something to do with it. Beneath his senior photo in the 1953 High School of Commerce yearbook someone — perhaps even Dumas himself — chose to inscribe this description of him: “Creative writing slave.”\u003c/p>\n\u003cp>After a brief stint at the City University of New York that ended with what Leak notes might have been “a crisis of confidence,” Dumas joined the U.S. Air Force within a year of his high school graduation. Tours of Saudi Arabia and Mexico deepened his interest in sketching worlds that blurred black-and-white interpretations of race.\u003c/p>\n\u003cp>At the age of 21, Dumas returned to the U.S., in 1955, and married Loretta Ponton, a beautiful young secretary he had met by chance on a snowy evening on the street in New York just before enlisting. The daughter of a Baptist deacon, Loretta held strong Christian values and a traditional sense of familial responsibility. While Dumas shared her beliefs during the early years of their marriage, he would veer from them in coming years.\u003c/p>\n\u003cp>One of just a few black students at Rutgers University, where Dumas studied from 1958 to 1965 and where the couple’s two sons were born, Dumas’ commitment to his writing, curiosities about the Nation of Islam, engagement with the civil rights movement, plus alcohol and drug use began to drive a wedge between him and Loretta.\u003c/p>\n\u003cp>He also had several affairs with white women. Lois Wright (nee Silber), with whom he had an affair that lasted three years, recalled in a letter to Dumas’ friend and fellow poet Jay Wright (whom she would later marry) that the two could only venture out to select spots in New York; the jazz clubs Dumas frequented weren’t welcoming to Wright, and she resented Dumas’ friends for referring to her as “the white chick.”\u003c/p>\n\u003cp>“For Dumas, crossing racial divides represented possibility and opportunity for both himself as a black man, but also from an imaginative standpoint,” Leak, whose biography of Dumas, \u003ca href=\"http://www.amazon.com/Visible-Man-Life-Henry-Dumas/dp/0820328707\">Visible Man\u003c/a>, came out last year, said in an interview. “I think he thought that if you can cross boundaries in the social realm, then you can cross other boundaries in the literary realm. In both spaces, he found it to be even more complicated than he had anticipated.”\u003c/p>\n\u003cp>Dumas explores those complexities in “Will The Circle Be Unbroken?,” a short story in which three white musicians and critics want to enter a black jazz club, arguing they should be let in because they know a lot about the genre. The black patrons finally agree to let them in, but warn that use of an ancient, rare horn may be too intense for their “uninitiated” ears. The music “vibrated the freedom of freedom” for its black listeners, but when the set ends, consternation rises when the three white people are found dead. They had been slain by music that wasn’t meant for them.\u003c/p>\n\u003cp>For many, the story offers a look at some of the central questions of the civil rights movement: What did it mean to be black? How could black identity adapt to an integrated world? What racial boundaries should remain unbroken?\u003c/p>\n\u003cp>In an essay on the story for a 1988 issue of the \u003cem>Black American Literary Forum\u003c/em> dedicated to Dumas’ work, an acquaintance of Dumas’ put it this way: “Black people had a feeling of always being on stage for white folks.” Dumas’ story on the jazz club held that the work of black artists should be guarded and protected, a notion that still resonates in a world where it’s been said many times that \u003ca href=\"http://www.buzzfeed.com/emaoconnor/rue-just-perfectly-defined-cultural-appropriation\">black cultural products are valued while black lives are not\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jazz And Honey\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10990163\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/10/dumas-wedding.jpg\" alt=\"Dumas and his wife, Loretta Dumas (Ponton), on their wedding day.\" width=\"400\" height=\"488\" class=\"size-full wp-image-10990163\">\u003cfigcaption class=\"wp-caption-text\">Dumas and his wife, Loretta Dumas (Ponton), on their wedding day. \u003ccite>(Courtesy: Eugene B. Redmond)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On no one, perhaps, has Dumas made a greater impression than Eugene Redmond. An \u003ca href=\"http://eugenebredmond.com/home/\">accomplished poet\u003c/a> in his own right, Redmond has spent the past four decades editing and promoting the work of Dumas, even though the two men knew one another for only just under a year. Redmond met Dumas when the older writer came to teach English at an experimental college at the University of Southern Illinois in Redmond’s hometown of East St. Louis in 1967. “We bonded quickly,” Redmond told me in a phone interview from the house of Loretta, Dumas’ widow.\u003c/p>\n\u003cp>The 77-year-old has served for decades as the literary executor of Dumas’ estate and was staying with Loretta for an annual commemoration of Dumas’ life and work that he helps organize every year on the anniversary of the shooting. Bringing together Dumas’ friends and family over poetry readings and jazz performances, Redmond, a Pushcart Prize recipient and the author of 25 books of poetry, has carried the torch for Dumas alongside his own teaching and writing career.\u003c/p>\n\u003cp>“Every time I stepped into a classroom after I met him, I had a turntable,” said Redmond, who said he picked up on Dumas’ tradition of playing music 15 minutes before each of his classes began. “Every class that I taught, I published the students in a spiral-bound or saddle-stitched booklet. I got that from him.” Redmond fondly recalls eating raw honey and listening to jazz with Dumas, to whom he attributes his love of some of the era’s greatest musicians, from Miles Davis to John Coltrane. “At the time,” Redmond said, “he seemed to be at the farthest most forward point of what black expression, black culture, and black people were all about.”\u003c/p>\n\u003cp>In his day-to-day life, Dumas insisted on making space for himself — and forcing others to acknowledge his right to exist. “He would even walk around East St. Louis and other places, and ask, ‘Do you see me? Feel my arm. I’m here, ain’t I?'” said Leak, who conducted many interviews with those close to Dumas for his book. “His point was: We’re not invisible. The idea is a direct corollary to Black Lives Matter, the idea that flesh and blood do matter, and we’re going to insist on being seen and being heard.”\u003c/p>\n\u003cp>Redmond hopes the Black Lives Matter movement will help introduce Dumas to a whole new audience and help bolster the foundation that the movement rests upon. “You gotta have someplace to come from before you know where you’re going,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beenish Ahmed covers international affairs for ThinkProgress. She’s also the founder of \u003c/em>\u003ca href=\"http://www.thealignist.com/\">THE ALIGNIST\u003c/a>,\u003cem> a new media venture aimed at bringing literature into conversation with current events. Follow her on \u003c/em>\u003ca href=\"https://twitter.com/beenishfahmed\">Twitter\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Henry+Dumas+Wrote+About+Black+People+Killed+By+Cops.+Then+He+Was+Killed+By+A+Cop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Dozens Mourn Slain Oakland Artist During Vigil at Mural",
"headTitle": "Dozens Mourn Slain Oakland Artist During Vigil at Mural | KQED",
"content": "\u003cp>Over a hundred mourners held candles and prayed under a west Oakland freeway underpass Wednesday morning, where Antonio Ramos was shot and killed while painting a mural the day before.\u003c/p>\n\u003cp>“It’s a shocking moment. It’s disbelief,” said Javier Rocabado, who designed the mural. “I saw my friend standing up and getting shot and next thing he’s on the floor dying for nothing.”\u003c/p>\n\u003cp>[contextly_sidebar id=”bNutdr7CJXa0ZPWUNiVyJjjocTqDcxpE”]\u003c/p>\n\u003cp>Before the shooting around 10:30am Tuesday, there were unconfirmed reports of an argument, after which an unknown assailant shot 27-year-old Ramos. The Emeryville resident later died at the hospital.\u003c/p>\n\u003cp>The mural’s project director David Burke was present at the time of the shooting, but says he saw nothing and only heard a gunshot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As muralists, when you go out in the community, you are totally exposed, your backs are to the street and you are about 3 or 4 inches from the wall. And it’s difficult to keep track of who’s around and you know to always be scanning and looking. But we were all working, and it happened in a moment. There was no time to react,” said Burke.\u003c/p>\n\u003cfigure id=\"attachment_10702681\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702681\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide-400x225.jpg\" alt=\"The mural in progress on West between 35th and 36th streets\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mural in progress on West between 35th and 36th streets\u003c/figcaption>\u003c/figure>\n\u003cp>One ironic aspect of the incident is that the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a> was itself a means to mitigate violence in the neighborhood, in this case working with students at West Oakland Middle School.\u003c/p>\n\u003cp>“The students go through a process where they learn about themselves, their strengths their weaknesses and think about what issues there are in the community that they want change,” said Justin Metoyer Mullon, who primed the wall two weeks ago to begin the painting process.\u003c/p>\n\u003cp>“They recreate themselves as a superhero character who addresses these issues in a non-traditional superhero way, in a non-violent way.”\u003c/p>\n\u003cfigure id=\"attachment_10702682\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10702682 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural-400x711.jpg\" alt=\"One of the superheros envisioned by West Oakland Middle School students\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the superheros envisioned by West Oakland Middle School Students\u003c/figcaption>\u003c/figure>\n\u003cp>“The premise of these projects is to promote peace and live in our communities. To actually break the cycle of violence that we witnessed first-hand yesterday morning. That is why we are out here in the first place doing this work,” explained Burke.\u003c/p>\n\u003cp>Bridget Chavis, who previously lived in the same Emeryville building as the Ramos family, called Antonio “a very young talented man at a young age,” who “loved skateboarding and artwork.”\u003c/p>\n\u003cp>“He had a heart and he helped out and he just was there for people. If you needed help, Tony was there,” said Chavis.\u003c/p>\n\u003cp>Chavis’ son David Burch called Ramos “a little brother.”\u003c/p>\n\u003cp>“I remember there was a time I was actually going to do a paper for one of my classes on him, as an artist…another great young man was taken yesterday,” said Burch.\u003c/p>\n\u003cp>“The value of life has gone down” said Marcus Norris, who has known Ramos since childhood. “People are ignorant. Instead of being able to conversate or talk like adults, or duke it out like men, they have to grab a gun like a child and not know what the f–k they’re doing with it.”\u003c/p>\n\u003cfigure id=\"attachment_10702729\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702729\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground-400x711.jpg\" alt=\"Ramos' sister mourns during the vigil\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ramos’ sister mourns during the vigil\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland police said that as of Wednesday, the investigation was still ongoing and no arrests had been made.\u003c/p>\n\u003cp>City councilman Dan Kalb, whose district abuts the freeway underpass where the shooting took place, attended the vigil.\u003c/p>\n\u003cp>While Kalb said “There’s no magic solution to 100 percent eliminate violent crime in any city,” he added that there are ways to “dramatically reduce it.”\u003c/p>\n\u003cp>“We need more police officers, more investments in crime prevention programs, more after school programs, re-entry programs, job training. Those all have to be part of the solution.”\u003c/p>\n\u003cp>Chavis has since moved to Berkeley and says she believes “gangs are coming on the rise again” in the West Oakland neighborhood where the shooting took place. Her son has lost five friends in the last couple of years — four to gun violence.\u003c/p>\n\u003cp>“Only thing I can tell him is just be aware, and if someone wants to be confrontational just walk away,” said Chavis. “Run in fact and don’t engage into it.”\u003c/p>\n\u003cp>This mural was the third in a series of six that are planned. Burke said Ramos started out as a volunteer when they were painting the first one back in 2012.\u003c/p>\n\u003cp>“We were out there working on the first day and Antonio just walked up and said ‘Hey, I love what you guys are doing, I want to be a part of it.’ And he just started volunteering his time. And he just showed up every day and that was the beginning.”\u003c/p>\n\u003cp>This time around, the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a> (ACH) hired Ramos as an assistant to help paint the mural. Ramos last contribution was a purple house, one of several local homes recreated for the mural.\u003c/p>\n\u003cfigure id=\"attachment_10702683\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702683\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house-400x225.jpg\" alt=\"This purple house was Ramos' last work\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This purple house was Ramos’ last work\u003c/figcaption>\u003c/figure>\n\u003cp>“He was special,” said ACH Executive Director Amana Harris. “We don’t take on every volunteer that shows up… He showed up 100 percent and he had the skills and the talent and he lived in the community. He was a team player, he had a lot of love in his heart, he loved to paint. There’s a million and one reasons why he was a good fit.”\u003c/p>\n\u003cp>“He had a future. He was doing a community service in his own community, in his own neighborhood,” said Rocabado.\u003c/p>\n\u003cp>Project staff say the mural will be completed with Ramos’ image incorporated into it, and it will be dedicated to the fallen artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s personal now,” said Harris. “This is such a tragedy that we are committed to turn into fuel that will progress this project immensely and spread a message of intolerance for these types of incidents for anyone.”\u003c/p>\n\n",
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"excerpt": "Antonio Ramos is remembered as an artist, skateboarder, and local \"superhero.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a hundred mourners held candles and prayed under a west Oakland freeway underpass Wednesday morning, where Antonio Ramos was shot and killed while painting a mural the day before.\u003c/p>\n\u003cp>“It’s a shocking moment. It’s disbelief,” said Javier Rocabado, who designed the mural. “I saw my friend standing up and getting shot and next thing he’s on the floor dying for nothing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Before the shooting around 10:30am Tuesday, there were unconfirmed reports of an argument, after which an unknown assailant shot 27-year-old Ramos. The Emeryville resident later died at the hospital.\u003c/p>\n\u003cp>The mural’s project director David Burke was present at the time of the shooting, but says he saw nothing and only heard a gunshot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As muralists, when you go out in the community, you are totally exposed, your backs are to the street and you are about 3 or 4 inches from the wall. And it’s difficult to keep track of who’s around and you know to always be scanning and looking. But we were all working, and it happened in a moment. There was no time to react,” said Burke.\u003c/p>\n\u003cfigure id=\"attachment_10702681\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702681\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/mural-vigil-wide-400x225.jpg\" alt=\"The mural in progress on West between 35th and 36th streets\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The mural in progress on West between 35th and 36th streets\u003c/figcaption>\u003c/figure>\n\u003cp>One ironic aspect of the incident is that the \u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a> was itself a means to mitigate violence in the neighborhood, in this case working with students at West Oakland Middle School.\u003c/p>\n\u003cp>“The students go through a process where they learn about themselves, their strengths their weaknesses and think about what issues there are in the community that they want change,” said Justin Metoyer Mullon, who primed the wall two weeks ago to begin the painting process.\u003c/p>\n\u003cp>“They recreate themselves as a superhero character who addresses these issues in a non-traditional superhero way, in a non-violent way.”\u003c/p>\n\u003cfigure id=\"attachment_10702682\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10702682 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/body-part-of-mural-400x711.jpg\" alt=\"One of the superheros envisioned by West Oakland Middle School students\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the superheros envisioned by West Oakland Middle School Students\u003c/figcaption>\u003c/figure>\n\u003cp>“The premise of these projects is to promote peace and live in our communities. To actually break the cycle of violence that we witnessed first-hand yesterday morning. That is why we are out here in the first place doing this work,” explained Burke.\u003c/p>\n\u003cp>Bridget Chavis, who previously lived in the same Emeryville building as the Ramos family, called Antonio “a very young talented man at a young age,” who “loved skateboarding and artwork.”\u003c/p>\n\u003cp>“He had a heart and he helped out and he just was there for people. If you needed help, Tony was there,” said Chavis.\u003c/p>\n\u003cp>Chavis’ son David Burch called Ramos “a little brother.”\u003c/p>\n\u003cp>“I remember there was a time I was actually going to do a paper for one of my classes on him, as an artist…another great young man was taken yesterday,” said Burch.\u003c/p>\n\u003cp>“The value of life has gone down” said Marcus Norris, who has known Ramos since childhood. “People are ignorant. Instead of being able to conversate or talk like adults, or duke it out like men, they have to grab a gun like a child and not know what the f–k they’re doing with it.”\u003c/p>\n\u003cfigure id=\"attachment_10702729\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702729\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/family-member-on-ground-400x711.jpg\" alt=\"Ramos' sister mourns during the vigil\" width=\"400\" height=\"711\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ramos’ sister mourns during the vigil\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland police said that as of Wednesday, the investigation was still ongoing and no arrests had been made.\u003c/p>\n\u003cp>City councilman Dan Kalb, whose district abuts the freeway underpass where the shooting took place, attended the vigil.\u003c/p>\n\u003cp>While Kalb said “There’s no magic solution to 100 percent eliminate violent crime in any city,” he added that there are ways to “dramatically reduce it.”\u003c/p>\n\u003cp>“We need more police officers, more investments in crime prevention programs, more after school programs, re-entry programs, job training. Those all have to be part of the solution.”\u003c/p>\n\u003cp>Chavis has since moved to Berkeley and says she believes “gangs are coming on the rise again” in the West Oakland neighborhood where the shooting took place. Her son has lost five friends in the last couple of years — four to gun violence.\u003c/p>\n\u003cp>“Only thing I can tell him is just be aware, and if someone wants to be confrontational just walk away,” said Chavis. “Run in fact and don’t engage into it.”\u003c/p>\n\u003cp>This mural was the third in a series of six that are planned. Burke said Ramos started out as a volunteer when they were painting the first one back in 2012.\u003c/p>\n\u003cp>“We were out there working on the first day and Antonio just walked up and said ‘Hey, I love what you guys are doing, I want to be a part of it.’ And he just started volunteering his time. And he just showed up every day and that was the beginning.”\u003c/p>\n\u003cp>This time around, the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a> (ACH) hired Ramos as an assistant to help paint the mural. Ramos last contribution was a purple house, one of several local homes recreated for the mural.\u003c/p>\n\u003cfigure id=\"attachment_10702683\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10702683\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/purple-house-400x225.jpg\" alt=\"This purple house was Ramos' last work\" width=\"400\" height=\"225\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This purple house was Ramos’ last work\u003c/figcaption>\u003c/figure>\n\u003cp>“He was special,” said ACH Executive Director Amana Harris. “We don’t take on every volunteer that shows up… He showed up 100 percent and he had the skills and the talent and he lived in the community. He was a team player, he had a lot of love in his heart, he loved to paint. There’s a million and one reasons why he was a good fit.”\u003c/p>\n\u003cp>“He had a future. He was doing a community service in his own community, in his own neighborhood,” said Rocabado.\u003c/p>\n\u003cp>Project staff say the mural will be completed with Ramos’ image incorporated into it, and it will be dedicated to the fallen artist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s personal now,” said Harris. “This is such a tragedy that we are committed to turn into fuel that will progress this project immensely and spread a message of intolerance for these types of incidents for anyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artist Shot, Killed While Working on West Oakland Community Mural",
"headTitle": "Artist Shot, Killed While Working on West Oakland Community Mural | KQED",
"content": "\u003cp>\u003cstrong>Updated:\u003c/strong> Sept. 30, 2015, 12:33pm\u003c/p>\n\u003cp>Emeryville artist Antonio Ramos, 27, was shot and killed Tuesday morning while working on a community mural under the 580 freeway in West Oakland, according to sources close to the victim.\u003c/p>\n\u003cp>Police responded to reports of gunshots near the underpass on West St. around 10:30am and found Ramos suffering from a gunshot wound.\u003c/p>\n\u003cfigure id=\"attachment_10986510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg\" alt=\"Antonio Ramos (Photo: Facebook)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Ramos \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist was working with a group of other muralists when he reportedly had an exchange of words with an unidentified man. At some point, the man shot Ramos and walked away. Ramos was taken to the hospital and later pronounced dead, according to Oakland police. As of Tuesday afternoon, police were still seeking information on the shooter.\u003c/p>\n\u003cp>Ramos was painting a mural sponsored by the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection of Oakland\u003c/a> (AHC), a nonprofit dedicated to building healthy communities by breaking cycles of violence through arts, creativity and education. Through their \u003ca href=\"http://oaklandmuralproject.com/sponsors/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a>, AHC pairs professional muralists with local middle school students to design and execute murals inspired by envisioning the students as superheroes.\u003c/p>\n\u003cfigure id=\"attachment_10986513\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10986513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg\" alt=\"Sketch for a portion of the West St. mural. (Photo: AHC)\" width=\"620\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee-400x141.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Sketch for a portion of the West St. mural. \u003ccite>(Courtesy: Attitudinal Healing Connection of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to AHC Executive Director Amana Harris, Ramos was “a really good kid who loved art” and was a victim of the violence he sought to end through his work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fellow muralist Frederick Alvarado, who worked with Ramos on the first Oakland Superheroes Mural Project, remembers him as a “good fellow” who loved skateboarding and crabbing at night.\u003c/p>\n\u003cfigure id=\"attachment_10986693\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg\" alt=\"An impromptu memorial at the shooting site.\" width=\"338\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial.jpg 540w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">An impromptu memorial at the shooting site. \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work on \u003ca href=\"http://ahc-oakland.org/2015/09/22/the-west-street-mural-is-going-up-now/\" target=\"_blank\" rel=\"noopener\">the mural\u003c/a> is just one week underway. The design, spread across 4,000 sq. feet of underpass wall, depicts children as gigantic figures overseeing and caring for their community. Students from West Oakland Middle School planned to help paint the mural along with professional muralists at an event scheduled for Wednesday, according to project organizers.\u003c/p>\n\u003cp>“We will be dedicating this wall to Antonio Ramos,” Harris said. “And we will not stop. We will not be intimidated to bring light and love and hope into our communities.”\u003c/p>\n\u003cp>Friends have created a \u003ca href=\"https://www.youcaring.com/antonio-s-parents-442193\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a> to help the Ramos family with funeral costs.\u003c/p>\n\u003cp>\u003cem>We will update this story as more information becomes available. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay City News contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated:\u003c/strong> Sept. 30, 2015, 12:33pm\u003c/p>\n\u003cp>Emeryville artist Antonio Ramos, 27, was shot and killed Tuesday morning while working on a community mural under the 580 freeway in West Oakland, according to sources close to the victim.\u003c/p>\n\u003cp>Police responded to reports of gunshots near the underpass on West St. around 10:30am and found Ramos suffering from a gunshot wound.\u003c/p>\n\u003cfigure id=\"attachment_10986510\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986510\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg\" alt=\"Antonio Ramos (Photo: Facebook)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Antonio-RamosCover-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio Ramos \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The artist was working with a group of other muralists when he reportedly had an exchange of words with an unidentified man. At some point, the man shot Ramos and walked away. Ramos was taken to the hospital and later pronounced dead, according to Oakland police. As of Tuesday afternoon, police were still seeking information on the shooter.\u003c/p>\n\u003cp>Ramos was painting a mural sponsored by the \u003ca href=\"http://ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection of Oakland\u003c/a> (AHC), a nonprofit dedicated to building healthy communities by breaking cycles of violence through arts, creativity and education. Through their \u003ca href=\"http://oaklandmuralproject.com/sponsors/\" target=\"_blank\" rel=\"noopener\">Oakland Superheroes Mural Project\u003c/a>, AHC pairs professional muralists with local middle school students to design and execute murals inspired by envisioning the students as superheroes.\u003c/p>\n\u003cfigure id=\"attachment_10986513\" class=\"wp-caption alignright\" style=\"max-width: 620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10986513 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg\" alt=\"Sketch for a portion of the West St. mural. (Photo: AHC)\" width=\"620\" height=\"219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/s9ic8thibhpxjivppoee-400x141.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003cfigcaption class=\"wp-caption-text\">Sketch for a portion of the West St. mural. \u003ccite>(Courtesy: Attitudinal Healing Connection of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to AHC Executive Director Amana Harris, Ramos was “a really good kid who loved art” and was a victim of the violence he sought to end through his work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fellow muralist Frederick Alvarado, who worked with Ramos on the first Oakland Superheroes Mural Project, remembers him as a “good fellow” who loved skateboarding and crabbing at night.\u003c/p>\n\u003cfigure id=\"attachment_10986693\" class=\"wp-caption alignright\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10986693\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg\" alt=\"An impromptu memorial at the shooting site.\" width=\"338\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-338x600.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial-400x711.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Ramos-memorial.jpg 540w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">An impromptu memorial at the shooting site. \u003ccite>(Courtesy: Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Work on \u003ca href=\"http://ahc-oakland.org/2015/09/22/the-west-street-mural-is-going-up-now/\" target=\"_blank\" rel=\"noopener\">the mural\u003c/a> is just one week underway. The design, spread across 4,000 sq. feet of underpass wall, depicts children as gigantic figures overseeing and caring for their community. Students from West Oakland Middle School planned to help paint the mural along with professional muralists at an event scheduled for Wednesday, according to project organizers.\u003c/p>\n\u003cp>“We will be dedicating this wall to Antonio Ramos,” Harris said. “And we will not stop. We will not be intimidated to bring light and love and hope into our communities.”\u003c/p>\n\u003cp>Friends have created a \u003ca href=\"https://www.youcaring.com/antonio-s-parents-442193\" target=\"_blank\" rel=\"noopener\">crowdfunding campaign\u003c/a> to help the Ramos family with funeral costs.\u003c/p>\n\u003cp>\u003cem>We will update this story as more information becomes available. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Bay City News contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the Bay Area’s most beloved actors and clowns has died.\u003c/p>\n\u003cp>Joan Mankin was 67, and was suffering from early dementia and amyotrophic lateral sclerosis (ALS) when she passed away on Saturday at home in San Francisco.\u003c/p>\n\u003cp>Mankin worked with Bay Area theater companies, large and small, from her debut in 1970 with the San Francisco Mime Troupe to more recent gigs with the American Conservatory Theater and California Shakespeare Theater, where she was a company member, to the tiny, Oakland-based Stagebridge troupe .\u003c/p>\n\u003cp>Mankin began her career as a pioneer female clown, inventing the comically self-absorbed character Queenie Moon for the now defunct Pickle Family Circus.\u003c/p>\n\u003cp>“She has empowered so many young women around the Bay Area to do physical theater,” said fellow Pickle clown Jeff Raz, who admired Mankin’s commitment no matter how small or large the project. “When she worked with people, she was all there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mankin taught physical acting and clown arts with Raz at San Francisco’s Clown Conservatory. “You’re talking about one strong woman.” Raz said. “She used to make our young virile clown students feel really bad when she would hold a handstand longer than anyone in class by a factor of three.”\u003c/p>\n\u003cp>Mankin also taught at Dell’Arte International in Blue Lake in far northern California, where Producing Artistic Director Michael Fields says she performed and taught classes in mask and a blend of martial arts and physical theater.\u003c/p>\n\u003cp>“Joan was this amazing, volatile force of nature,” Fields said. “She leaves behind a great mark as an amazing actress, but on top of that, was a tremendous spokesperson for women and justice.”\u003c/p>\n\u003cp>Jon Moscone, the former artistic director for the California Shakespeare Theater, recalls her work just as vividly.\u003c/p>\n\u003cp>“She was no mere mortal,” Moscone said. “She was probably the most present individual I’ve ever met. She looked at you, when she performed, when she talked to you, and she was just connected.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?t=10&v=aRWJF1MEsd8\u003c/p>\n\n",
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"content": "\u003cp>\u003cem>SF Sounds\u003c/em> is a new music publication, printed in a run of 25,000 and distributed for free throughout San Francisco. The first issue, released in September, is boosterish and basic. It previews shows and fluffs local artists with snappy interviews in the serviceable way one would expect from a handout underwritten by a managing partner at the \u003ca href=\"http://parishmusicgroup.com/\" target=\"_blank\" rel=\"noopener\">Parish Entertainment Group\u003c/a>, the umbrella company for venues including the Brick & Mortar Music Hall, a nightclub in San Francisco, and Leo’s Music Club and the New Parish, in Oakland.\u003c/p>\n\u003cp>That benevolent, advertorial bent is also the reason why its central editorial statement — a screed alleging egregious corruption and conflicts of interest at the \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">San Francisco Entertainment Commission\u003c/a>, drearily titled “The Selling of Our Cultural Soul” — seems so surprisingly vindictive.\u003c/p>\n\u003cfigure id=\"attachment_10974932\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg\" alt=\"The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\" width=\"640\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-400x433.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-554x600.jpg 554w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\u003c/figcaption>\u003c/figure>\n\u003cp>The editorial in \u003cem>SF Sounds\u003c/em> \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SFSounds_sm.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 10MB]\u003c/a> is unsigned, but when interviewed for this story, Parish Entertainment Group managing partner Jason Perkins acknowledges co-authorship.\u003c/p>\n\u003cp>Perkins’ editorial aims at Commissioner Audrey Joseph, a nightlife veteran and celebrated figure in the LGBTQ community who was appointed to the Commission in 2003. It also lambasts the Commission for allegedly fast-tracking large venues operated by corporations like Live Nation and Goldenvoice, and for watching “idly” as venues like Cafe du Nord, the Elbo Room and Viracocha are “dismantled by rising rents and sound complaints.”\u003c/p>\n\u003cp>His campaign has a vengeful tone: Beyond the strongly worded editorial, Perkins cries corruption in comments on articles about the commissioner’s \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">new role as Director of Events at the Mission District’s historic Armory Building\u003c/a>, and, to KQED, declares the Commission an “instrument of our destruction.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And yet, amidst the current tech boom, Perkins’ anger resonates with many local musicians and fans. Local clubs are in a bad way: In the past year, Cafe Du Nord’s new ownership has \u003ca href=\"http://ww2.kqed.org/arts/2015/06/15/cafe-du-nord-to-reopen-as-sit-down-restaurant-with-quiet-music/\" target=\"_blank\" rel=\"noopener\">done away with louder bands\u003c/a> and introduced dinnertime music. Submission, one of very few places for all-ages events, shuttered. Yoshi’s spinoff the Addition \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">floundered\u003c/a>, leaving behind massive debt. The Elbo Room is \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">hanging on by a thread\u003c/a>. Meanwhile, massive venues clamber to host the high-profile headliners for whom San Francisco is a crucial market. Both Perkins and Joseph style themselves as crusaders for local music; their clash exemplifies the fraught and emotional discourse surrounding an invaluable component of the city’s cultural character.\u003c/p>\n\u003cp>At this precarious, transitional moment for San Francisco nightlife, it warrants investigation: is Perkins exposing a broken system? Separating his bluster from basic facts reveals some inaccuracies, but also some salient concerns.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘On a rampage’\u003c/h3>\n\u003cp>Strife between Perkins and the Commission dates back to 2013, when the club owner \u003ca href=\"http://www.sfweekly.com/shookdown/2013/05/22/club-owner-alleges-city-inspector-punishes-venues-that-dont-use-his-security-company\" target=\"_blank\" rel=\"noopener\">alleged that Brick & Mortar’s decibel threshold was downgraded\u003c/a> because he declined to employ a security company tied to Vajra Granelli, at the time an inspector for the Entertainment Commission.\u003c/p>\n\u003cp>Indeed, his article rehashes the episode in stark terms, asserting that “32 clubs [were] forced to pay Inspector Granelli $64/hour to stay open and out of trouble with the Entertainment Commission.” At the time, the Entertainment Commission’s executive director Jocelyn Kane defended Granelli in the press. (Reached recently by phone, Kane acknowledged that Granelli resigned amid the allegations; a subsequent San Francisco City Attorney investigation resulted in no charges.)\u003c/p>\n\u003cp>Perkins’ article also points to Joseph’s current position at the Armory — a building best known for housing fetish-porn site Kink.com — as evidence of a regulatory fast-lane in permitting the large space for live events, such as a Chemical Brothers show this past July.\u003c/p>\n\u003cp>“It’s shocking to me to see such incredibly bad governance and conflicts of interest,” Perkins says. “The thing that really struck was how naked it was.”\u003c/p>\n\u003cp>For her part, Joseph was flummoxed by the piece. “[It’s] full of inaccuracies and sounded like an attack on me personally,” she writes in an email. “It seems like Mr. Perkins is on a rampage.” In a later phone call, she adds, “I have no idea why he decided to attack me.”\u003c/p>\n\u003cp>Perkins’ assertion that permitting the space was inappropriately exempted from public hearing doesn’t hold; the Armory hosts occasional happenings via one-time event permits, regularly applied for and granted without hearing. And to Perkins’ charge that the Armory is awry in the eyes of the Planning Department, a representative said that though the space is not approved for regularly scheduled music events, it operates in compliance with its Temporary Use Authorization.\u003c/p>\n\u003cp>Which isn’t to say that an aspirant 4,000 capacity venue employing a Commissioner doesn’t deserve scrutiny. Even while acknowledging that Joseph is allowed, by City Hall, to work in her field, critics quoted in \u003ca href=\"http://www.sfweekly.com/sanfrancisco/for-entertainment-purposes-only/Content?oid=2173295&showFullText=true\" target=\"_blank\" rel=\"noopener\">extensive prior reporting\u003c/a> on the Entertainment Commission call it an “ethical minefield.”\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10917233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Consulting and transparency\u003c/h3>\n\u003cp>For many years, in addition to the Entertainment Commission job, Joseph ran a consulting company. Last year, she consulted for the Armory; her 2014 Statement of Economic Interests form \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JosephSEI2014.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 146kb]\u003c/a> states that her eponymous company grossed between $10,000 and $100,000 in income from the Armory Community Center. (By phone, Joseph’s own estimates hover around $14,000.) Joseph became director of the Armory on Jan. 5 of this year, and she acknowledges that her new role at the Armory forces her to recuse herself on Armory matters with the Commission, and excludes interactions with any and all city departments on behalf of the Armory.\u003c/p>\n\u003cp>Over email, however, the Planning Department’s Senior Advisor for Special Projects, Daniel Sider, writes in regards to the Armory’s ongoing efforts towards becoming a full-fledged venue that “[Joseph] works for the Armory and has been — at least to the extent I’ve been involved with this case — the primary point of contact.” That appears to violate the Commission’s Statement of Incompatible Activities \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Entertainment_Commission_SIA.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 59kb]\u003c/a> and city ethics rules prohibiting inter-departmental lobbying on behalf of citizens. (Joseph denies directly interacting with the Planning Department.)\u003c/p>\n\u003cp>On her 2014 form, Joseph also reported a $600 gift in the form of festival tickets from Another Planet Entertainment, one of the large promoters she noted in KQED’s recent interview as a potential source of future bookings at the Armory. Earlier this month, Perkins continued his campaign against Joseph by formally complaining to the Ethics Commission about the free festival tickets. (The complaint has not yet been settled, but isn’t without precedent; in 2009, SFGate \u003ca href=\"http://blog.sfgate.com/cityinsider/2009/08/17/complaint-filed-against-city-commissioner/\" target=\"_blank\" rel=\"noopener\">reported on another complaint\u003c/a> after Joseph appeared before the Small Business Commission to vouch for two hopeful club owners who she clearly identified as clients.)\u003c/p>\n\u003cp>Ethics Commission complaints and investigations are typically conducted confidentially, but Perkins is keen to take credit for his recent filing. Indeed, he makes a point of contrasting his belief in transparency with what he considers the Commission’s opaque dealings.\u003c/p>\n\u003cp>And that’s the thing: attacks on the grounds of conflicts of interest and transparency tend to boomerang.\u003c/p>\n\u003cfigure id=\"attachment_10974933\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10974933\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg\" alt=\"Ghost and Gale perform at the Brick and Mortar Music Hall.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ghost and Gale perform at the Brick and Mortar Music Hall. \u003ccite>(Travis Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As mentioned, the \u003cem>SF Sounds\u003c/em> editorial is not bylined; Perkins’ name appears nowhere on the paper’s masthead. Furthermore, there’s no acknowledgment that the Parish Entertainment Group’s managing partner underwrites the paper, which predominantly features ads and editorial copy promoting the company’s own shows. It also includes an interview with one of its own employees — Gina Madrid, a.k.a. Raw-G — without disclosure. And the editorial botches numbers, inflating the Armory’s capacity by 500, for instance. Also, it oddly claims that the Masonic Auditorium, operated by Live Nation, was not given public hearing, but records clearly indicate extensive — and contentious — public comment from members of the Nob Hill community.\u003c/p>\n\u003cp>Plus, the \u003cem>SF Sounds\u003c/em> editorial doesn’t state that Joseph was offered any opportunity to respond. Perkins tells me that he reached out to Joseph “ten times,” but hasn’t forwarded the emails. Joseph staunchly denies receiving request for comment.\u003c/p>\n\u003ch3>‘We don’t have the money’\u003c/h3>\n\u003cp>Though \u003cem>SF Sounds\u003c/em> doesn’t demonstrate the journalistic credibility that Perkins asks from other media outlets, a broader takeaway from his editorial does feel resonant.\u003c/p>\n\u003cp>The Commission’s \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">stated purpose\u003c/a> includes both regulation and promotion of nightlife — a strange dual calling, whose inherent conflict has long been fodder for critics. Promoting nightlife entails enabling it to generate revenue — not the strong suit of many much-beloved smaller clubs — and trumpeting its cash flow: when \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">asked by KQED recently how she viewed the local club scene\u003c/a>, for example, Joseph emphasized its economic impact in jobs, payroll taxes, and dollars spent in the city.\u003c/p>\n\u003cp>Larger concert promoters like Live Nation and Goldenvoice, who book primarily touring acts, supply a sizable economic impact from concerts at the Regency Ballroom, the Fillmore, the Masonic Auditorium, the Warfield, and AT&T Park. In dealing with City Hall, these larger corporations are also able to hire consultants to navigate permits, and attorneys to challenge citations.\u003c/p>\n\u003cp>Small club owners, meanwhile, are the ones booking and paying local musicians. And some of them feel that the Commission’s oversight further burdens their struggle against the riptide of displacement.\u003c/p>\n\u003cfigure id=\"attachment_10974934\" class=\"wp-caption alignright\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TheLab.jpg\" alt=\"Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city.\" width=\"1136\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-960x541.jpg 960w\" sizes=\"(max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city. \u003ccite>(Photo: The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not convinced that the City of San Francisco supports edgier nonprofit art spaces,” says Dena Beard, Executive Director of Mission District arts space \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. She commends Supervisor David Campos’ office, but says that the Commission was intractable regarding the Lab’s request to host one higher decibel level show per month.\u003c/p>\n\u003cp>“As a result, we’ve had to dissolve a significant part of our experimental music program, displacing those artists to smaller venues in Oakland and denying San Francisco access to some of the greatest sound artists in the world,” Beard says, adding, “It’s disheartening, to say the least.”\u003c/p>\n\u003cp>Don Alan, who’s owned \u003ca href=\"http://www.casanovasf.com/\" target=\"_blank\" rel=\"noopener\">Casanova Lounge\u003c/a> and rock fixture the \u003ca href=\"http://www.hemlocktavern.com/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> for a combined 31 years, takes a broad view of the Commission. He speaks for the smaller clubs for whom live entertainment is more of a liability than a commercial asset — especially when subject to the strictures of an inflexible bureaucracy’s microscopic oversight.\u003c/p>\n\u003cp>“People who run smaller clubs are more vulnerable to regulatory sources, because we don’t have the money to hire lawyers and lobbyists,” Alan says. “I’ve had problems. We had a bar where people played records. No one complained, but [the Entertainment Commission] said we couldn’t. They solved a problem that didn’t exist.” Referencing Granelli, he adds, “The guy who enforced it turned out to be corrupt.”\u003c/p>\n\u003cp>Of course, small club owners like Alan benefited when the Commission earlier this year joined several city departments in approving \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">legislation aimed at curbing the damage of San Francisco newcomers’ complaints\u003c/a>. The measure, spearheaded by Board of Supervisors President London Breed, obligates developers to disclose nearby nightlife to prospective tenants, and limits residents’ ability to file noise complaints against clubs that comply with their permits.\u003c/p>\n\u003cp>Alan adds of the Entertainment Commission, “I feel like if the Hemlock were under attack I’d at least have a forum. It used to be more vulnerable for us… Back in the day, you had police captains using their influence to push agendas. That made life very difficult for some club owners, but easy for favored ones. The Commission was set up to neutralize that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perkins, who finds the SFPD “to be far more ethical and have far higher standards of interacting with club owners,” says he’d rather deal with the cops.\u003c/p>\n\n",
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"excerpt": "Club owner Jason Perkins alleges the governmental body established to promote nightlife in San Francisco is actually ruining it. Is there any truth to his bluster?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>SF Sounds\u003c/em> is a new music publication, printed in a run of 25,000 and distributed for free throughout San Francisco. The first issue, released in September, is boosterish and basic. It previews shows and fluffs local artists with snappy interviews in the serviceable way one would expect from a handout underwritten by a managing partner at the \u003ca href=\"http://parishmusicgroup.com/\" target=\"_blank\" rel=\"noopener\">Parish Entertainment Group\u003c/a>, the umbrella company for venues including the Brick & Mortar Music Hall, a nightclub in San Francisco, and Leo’s Music Club and the New Parish, in Oakland.\u003c/p>\n\u003cp>That benevolent, advertorial bent is also the reason why its central editorial statement — a screed alleging egregious corruption and conflicts of interest at the \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">San Francisco Entertainment Commission\u003c/a>, drearily titled “The Selling of Our Cultural Soul” — seems so surprisingly vindictive.\u003c/p>\n\u003cfigure id=\"attachment_10974932\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg\" alt=\"The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\" width=\"640\" height=\"693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-400x433.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/sfsoundsp1-554x600.jpg 554w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The debut issue of SF Sounds, a paper underwritten by club owner Jason Perkins.\u003c/figcaption>\u003c/figure>\n\u003cp>The editorial in \u003cem>SF Sounds\u003c/em> \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/SFSounds_sm.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 10MB]\u003c/a> is unsigned, but when interviewed for this story, Parish Entertainment Group managing partner Jason Perkins acknowledges co-authorship.\u003c/p>\n\u003cp>Perkins’ editorial aims at Commissioner Audrey Joseph, a nightlife veteran and celebrated figure in the LGBTQ community who was appointed to the Commission in 2003. It also lambasts the Commission for allegedly fast-tracking large venues operated by corporations like Live Nation and Goldenvoice, and for watching “idly” as venues like Cafe du Nord, the Elbo Room and Viracocha are “dismantled by rising rents and sound complaints.”\u003c/p>\n\u003cp>His campaign has a vengeful tone: Beyond the strongly worded editorial, Perkins cries corruption in comments on articles about the commissioner’s \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">new role as Director of Events at the Mission District’s historic Armory Building\u003c/a>, and, to KQED, declares the Commission an “instrument of our destruction.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, amidst the current tech boom, Perkins’ anger resonates with many local musicians and fans. Local clubs are in a bad way: In the past year, Cafe Du Nord’s new ownership has \u003ca href=\"http://ww2.kqed.org/arts/2015/06/15/cafe-du-nord-to-reopen-as-sit-down-restaurant-with-quiet-music/\" target=\"_blank\" rel=\"noopener\">done away with louder bands\u003c/a> and introduced dinnertime music. Submission, one of very few places for all-ages events, shuttered. Yoshi’s spinoff the Addition \u003ca href=\"http://ww2.kqed.org/arts/2015/01/12/the-addition-formerly-yoshis-in-san-francisco-to-abruptly-close/\" target=\"_blank\" rel=\"noopener\">floundered\u003c/a>, leaving behind massive debt. The Elbo Room is \u003ca href=\"http://ww2.kqed.org/arts/2015/08/19/the-elbo-room-will-live-to-see-2016/\" target=\"_blank\" rel=\"noopener\">hanging on by a thread\u003c/a>. Meanwhile, massive venues clamber to host the high-profile headliners for whom San Francisco is a crucial market. Both Perkins and Joseph style themselves as crusaders for local music; their clash exemplifies the fraught and emotional discourse surrounding an invaluable component of the city’s cultural character.\u003c/p>\n\u003cp>At this precarious, transitional moment for San Francisco nightlife, it warrants investigation: is Perkins exposing a broken system? Separating his bluster from basic facts reveals some inaccuracies, but also some salient concerns.\u003c/p>\n\u003cfigure id=\"attachment_10917676\" class=\"wp-caption alignright\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10917676\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg\" alt=\"Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015\" width=\"698\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Audrey-Joseph-400x229.jpg 400w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">Joseph being sworn in once again to the San Francisco Entertainment Commission in 2015 \u003ccite>(Courtesy: Audrey Joseph)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘On a rampage’\u003c/h3>\n\u003cp>Strife between Perkins and the Commission dates back to 2013, when the club owner \u003ca href=\"http://www.sfweekly.com/shookdown/2013/05/22/club-owner-alleges-city-inspector-punishes-venues-that-dont-use-his-security-company\" target=\"_blank\" rel=\"noopener\">alleged that Brick & Mortar’s decibel threshold was downgraded\u003c/a> because he declined to employ a security company tied to Vajra Granelli, at the time an inspector for the Entertainment Commission.\u003c/p>\n\u003cp>Indeed, his article rehashes the episode in stark terms, asserting that “32 clubs [were] forced to pay Inspector Granelli $64/hour to stay open and out of trouble with the Entertainment Commission.” At the time, the Entertainment Commission’s executive director Jocelyn Kane defended Granelli in the press. (Reached recently by phone, Kane acknowledged that Granelli resigned amid the allegations; a subsequent San Francisco City Attorney investigation resulted in no charges.)\u003c/p>\n\u003cp>Perkins’ article also points to Joseph’s current position at the Armory — a building best known for housing fetish-porn site Kink.com — as evidence of a regulatory fast-lane in permitting the large space for live events, such as a Chemical Brothers show this past July.\u003c/p>\n\u003cp>“It’s shocking to me to see such incredibly bad governance and conflicts of interest,” Perkins says. “The thing that really struck was how naked it was.”\u003c/p>\n\u003cp>For her part, Joseph was flummoxed by the piece. “[It’s] full of inaccuracies and sounded like an attack on me personally,” she writes in an email. “It seems like Mr. Perkins is on a rampage.” In a later phone call, she adds, “I have no idea why he decided to attack me.”\u003c/p>\n\u003cp>Perkins’ assertion that permitting the space was inappropriately exempted from public hearing doesn’t hold; the Armory hosts occasional happenings via one-time event permits, regularly applied for and granted without hearing. And to Perkins’ charge that the Armory is awry in the eyes of the Planning Department, a representative said that though the space is not approved for regularly scheduled music events, it operates in compliance with its Temporary Use Authorization.\u003c/p>\n\u003cp>Which isn’t to say that an aspirant 4,000 capacity venue employing a Commissioner doesn’t deserve scrutiny. Even while acknowledging that Joseph is allowed, by City Hall, to work in her field, critics quoted in \u003ca href=\"http://www.sfweekly.com/sanfrancisco/for-entertainment-purposes-only/Content?oid=2173295&showFullText=true\" target=\"_blank\" rel=\"noopener\">extensive prior reporting\u003c/a> on the Entertainment Commission call it an “ethical minefield.”\u003c/p>\n\u003cfigure id=\"attachment_10917233\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10917233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg\" alt=\"Drill Court, the new 4,000-person venue inside the Kink.com Armory\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/drillcourt_a.jpg 1030w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drill Court, the new 4,000-person venue inside the Kink.com Armory. \u003ccite>(Photo courtesy the Armory)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Consulting and transparency\u003c/h3>\n\u003cp>For many years, in addition to the Entertainment Commission job, Joseph ran a consulting company. Last year, she consulted for the Armory; her 2014 Statement of Economic Interests form \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/JosephSEI2014.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 146kb]\u003c/a> states that her eponymous company grossed between $10,000 and $100,000 in income from the Armory Community Center. (By phone, Joseph’s own estimates hover around $14,000.) Joseph became director of the Armory on Jan. 5 of this year, and she acknowledges that her new role at the Armory forces her to recuse herself on Armory matters with the Commission, and excludes interactions with any and all city departments on behalf of the Armory.\u003c/p>\n\u003cp>Over email, however, the Planning Department’s Senior Advisor for Special Projects, Daniel Sider, writes in regards to the Armory’s ongoing efforts towards becoming a full-fledged venue that “[Joseph] works for the Armory and has been — at least to the extent I’ve been involved with this case — the primary point of contact.” That appears to violate the Commission’s Statement of Incompatible Activities \u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Entertainment_Commission_SIA.pdf\" target=\"_blank\" rel=\"noopener\">[PDF; 59kb]\u003c/a> and city ethics rules prohibiting inter-departmental lobbying on behalf of citizens. (Joseph denies directly interacting with the Planning Department.)\u003c/p>\n\u003cp>On her 2014 form, Joseph also reported a $600 gift in the form of festival tickets from Another Planet Entertainment, one of the large promoters she noted in KQED’s recent interview as a potential source of future bookings at the Armory. Earlier this month, Perkins continued his campaign against Joseph by formally complaining to the Ethics Commission about the free festival tickets. (The complaint has not yet been settled, but isn’t without precedent; in 2009, SFGate \u003ca href=\"http://blog.sfgate.com/cityinsider/2009/08/17/complaint-filed-against-city-commissioner/\" target=\"_blank\" rel=\"noopener\">reported on another complaint\u003c/a> after Joseph appeared before the Small Business Commission to vouch for two hopeful club owners who she clearly identified as clients.)\u003c/p>\n\u003cp>Ethics Commission complaints and investigations are typically conducted confidentially, but Perkins is keen to take credit for his recent filing. Indeed, he makes a point of contrasting his belief in transparency with what he considers the Commission’s opaque dealings.\u003c/p>\n\u003cp>And that’s the thing: attacks on the grounds of conflicts of interest and transparency tend to boomerang.\u003c/p>\n\u003cfigure id=\"attachment_10974933\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10974933\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg\" alt=\"Ghost and Gale perform at the Brick and Mortar Music Hall.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/GhostGaleBrick.TravisHayes.jpg 640w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Ghost and Gale perform at the Brick and Mortar Music Hall. \u003ccite>(Travis Hayes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As mentioned, the \u003cem>SF Sounds\u003c/em> editorial is not bylined; Perkins’ name appears nowhere on the paper’s masthead. Furthermore, there’s no acknowledgment that the Parish Entertainment Group’s managing partner underwrites the paper, which predominantly features ads and editorial copy promoting the company’s own shows. It also includes an interview with one of its own employees — Gina Madrid, a.k.a. Raw-G — without disclosure. And the editorial botches numbers, inflating the Armory’s capacity by 500, for instance. Also, it oddly claims that the Masonic Auditorium, operated by Live Nation, was not given public hearing, but records clearly indicate extensive — and contentious — public comment from members of the Nob Hill community.\u003c/p>\n\u003cp>Plus, the \u003cem>SF Sounds\u003c/em> editorial doesn’t state that Joseph was offered any opportunity to respond. Perkins tells me that he reached out to Joseph “ten times,” but hasn’t forwarded the emails. Joseph staunchly denies receiving request for comment.\u003c/p>\n\u003ch3>‘We don’t have the money’\u003c/h3>\n\u003cp>Though \u003cem>SF Sounds\u003c/em> doesn’t demonstrate the journalistic credibility that Perkins asks from other media outlets, a broader takeaway from his editorial does feel resonant.\u003c/p>\n\u003cp>The Commission’s \u003ca href=\"http://www.sfgov2.org/index.aspx?page=335\" target=\"_blank\" rel=\"noopener\">stated purpose\u003c/a> includes both regulation and promotion of nightlife — a strange dual calling, whose inherent conflict has long been fodder for critics. Promoting nightlife entails enabling it to generate revenue — not the strong suit of many much-beloved smaller clubs — and trumpeting its cash flow: when \u003ca href=\"http://ww2.kqed.org/arts/2015/08/26/veteran-club-promoter-running-new-venue-in-kink-coms-armory/\" target=\"_blank\" rel=\"noopener\">asked by KQED recently how she viewed the local club scene\u003c/a>, for example, Joseph emphasized its economic impact in jobs, payroll taxes, and dollars spent in the city.\u003c/p>\n\u003cp>Larger concert promoters like Live Nation and Goldenvoice, who book primarily touring acts, supply a sizable economic impact from concerts at the Regency Ballroom, the Fillmore, the Masonic Auditorium, the Warfield, and AT&T Park. In dealing with City Hall, these larger corporations are also able to hire consultants to navigate permits, and attorneys to challenge citations.\u003c/p>\n\u003cp>Small club owners, meanwhile, are the ones booking and paying local musicians. And some of them feel that the Commission’s oversight further burdens their struggle against the riptide of displacement.\u003c/p>\n\u003cfigure id=\"attachment_10974934\" class=\"wp-caption alignright\" style=\"max-width: 1136px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10974934\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/TheLab.jpg\" alt=\"Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city.\" width=\"1136\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab.jpg 1136w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/TheLab-960x541.jpg 960w\" sizes=\"(max-width: 1136px) 100vw, 1136px\">\u003cfigcaption class=\"wp-caption-text\">Chris Corsano, Okkyung Lee, and Bill Orcutt perform recently at the Lab, where Executive Director Dena Beard says the Entertainment Commission has been inflexible, thus displacing experimental music from the city. \u003ccite>(Photo: The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m not convinced that the City of San Francisco supports edgier nonprofit art spaces,” says Dena Beard, Executive Director of Mission District arts space \u003ca href=\"http://www.thelab.org/\" target=\"_blank\" rel=\"noopener\">The Lab\u003c/a>. She commends Supervisor David Campos’ office, but says that the Commission was intractable regarding the Lab’s request to host one higher decibel level show per month.\u003c/p>\n\u003cp>“As a result, we’ve had to dissolve a significant part of our experimental music program, displacing those artists to smaller venues in Oakland and denying San Francisco access to some of the greatest sound artists in the world,” Beard says, adding, “It’s disheartening, to say the least.”\u003c/p>\n\u003cp>Don Alan, who’s owned \u003ca href=\"http://www.casanovasf.com/\" target=\"_blank\" rel=\"noopener\">Casanova Lounge\u003c/a> and rock fixture the \u003ca href=\"http://www.hemlocktavern.com/\" target=\"_blank\" rel=\"noopener\">Hemlock Tavern\u003c/a> for a combined 31 years, takes a broad view of the Commission. He speaks for the smaller clubs for whom live entertainment is more of a liability than a commercial asset — especially when subject to the strictures of an inflexible bureaucracy’s microscopic oversight.\u003c/p>\n\u003cp>“People who run smaller clubs are more vulnerable to regulatory sources, because we don’t have the money to hire lawyers and lobbyists,” Alan says. “I’ve had problems. We had a bar where people played records. No one complained, but [the Entertainment Commission] said we couldn’t. They solved a problem that didn’t exist.” Referencing Granelli, he adds, “The guy who enforced it turned out to be corrupt.”\u003c/p>\n\u003cp>Of course, small club owners like Alan benefited when the Commission earlier this year joined several city departments in approving \u003ca href=\"http://ww2.kqed.org/arts/2015/05/07/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors/\" target=\"_blank\" rel=\"noopener\">legislation aimed at curbing the damage of San Francisco newcomers’ complaints\u003c/a>. The measure, spearheaded by Board of Supervisors President London Breed, obligates developers to disclose nearby nightlife to prospective tenants, and limits residents’ ability to file noise complaints against clubs that comply with their permits.\u003c/p>\n\u003cp>Alan adds of the Entertainment Commission, “I feel like if the Hemlock were under attack I’d at least have a forum. It used to be more vulnerable for us… Back in the day, you had police captains using their influence to push agendas. That made life very difficult for some club owners, but easy for favored ones. The Commission was set up to neutralize that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perkins, who finds the SFPD “to be far more ethical and have far higher standards of interacting with club owners,” says he’d rather deal with the cops.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Breaking news, dear readers: The Bay Area is an expensive place to live these days. We’re guessing you don’t need another trend story about $4 toast or $8 coffee or $15 cocktails to understand this, either — your ludicrous rent or mortgage payment is due in just a few days’ time!\u003c/p>\n\u003cp>But take heart: contrary to popular belief, it is still possible to go out and have a good time in these parts without selling your organs for cash on the black market. Cheap Date is a new column in which we will round up ways to do just that. All events featured here have a strict cap of $20, with a special emphasis on parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>So go on out. Pack a flask. Save your dollars. You’ll need ’em for tomorrow’s toast and coffee.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Sept. 23: \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tunnel Vision\u003c/em>, SF Punk Renaissance Kickoff.\u003c/a> \u003c/strong>In the early days of San Francisco punk rock, as bands like the Dead Kennedys and the Avengers forged a sound that would shape West Coast punk for years to come, even those who couldn’t play an instrument were instrumental in helping the scene stand out. V.Vale’s zine \u003ci>Search And Destroy,\u003c/i> with its in-depth interviews and pro-level photographs was just one way these exciting times were documented. The \u003ci>Tunnel Vision\u003c/i> photography exhibit\u003ci> \u003c/i>has pushed photographers and documentarians to dig through their archives and pull out some amazing footage from those days, including the still-in-progress film \u003ci>Buried In The Mix\u003c/i>. The $10 entry fee for this opening party includes a drink ticket. \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">Read more about the exhibition from KQED’s Kevin L. Jones here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Sept. 25: \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">Kool A.D. at The New Parish.\u003c/a> \u003c/strong>Das Racist, the New York based hip-hop collective, is still the project for which San Francisco native Victor Vazquez (aka Kool A.D.) is best known. But it doesn’t take much digging to realize that’s only the tip of the hyper-literate rapper/musician’s creative iceberg: Through a slew of solo projects and guest appearances that run the gamut from hardcore noise-punk to nerd rap (and, recently, visual art), he’s established himself as an artist who’s not afraid to take chances. Which is to say: thoroughly Bay Area to his core. $10 – $15; \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_rXE8KiQqAk\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">\u003cem>Back to the Future\u003c/em> in Dolores Park.\u003c/a>\u003c/strong> Summer ain’t over ’til everyone has a sunburn, a slight hangover, and a sense of nostalgia for days gone by — whether they were three weeks ago or three decades ago. Achieve all of these elements and more at the season’s last outdoor movie screening in Dolores Park, featuring the 1985 classic in all its Delorean-esque glory. Best of all, it’s free! Come early to snag a spot; last year’s \u003cem>Clueless\u003c/em> screening filled up faster than you could say “As\u003cem> if.\u003c/em>” \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 26 – Sunday, Sept. 27: \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival.\u003c/a>\u003c/strong> This is one of those cases where a merger is a great thing: The longstanding Downtown Martinez Italian Street Painting Festival and San Francisco’s Polk Street Blues Festival have combined forces, and the result is this sprawling multi-day music celebration on the streets of Martinez (which have a little more room to spread out, one might note, than those in San Francisco). Hear performances from local blues staples like Frankie G and the Conviction, Buckaroo Bonet, the West Coast Playboys, and more. \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Folsom Street Fair.\u003c/a>\u003c/strong>\u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\"> \u003c/a>If you’ve been to the Folsom Street Fair, well, there’s no need for us to describe this gleefully irreverent celebration of all things kink and leather, with some 400,000 enthusiasts lining Folsom between 8th and 12th Streets in downtown SF. If you haven’t? Consider it a requirement before you can call yourself a San Franciscan. This free S&M fest isn’t for the faint of heart, to be sure — but that’s kinda the whole point. Grab a paddle and come prepared to see a politician or other locally famous figure in a whole new light. Haters not welcome! \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breaking news, dear readers: The Bay Area is an expensive place to live these days. We’re guessing you don’t need another trend story about $4 toast or $8 coffee or $15 cocktails to understand this, either — your ludicrous rent or mortgage payment is due in just a few days’ time!\u003c/p>\n\u003cp>But take heart: contrary to popular belief, it is still possible to go out and have a good time in these parts without selling your organs for cash on the black market. Cheap Date is a new column in which we will round up ways to do just that. All events featured here have a strict cap of $20, with a special emphasis on parties, shows, and screenings that are actually — gasp — free of charge.\u003c/p>\n\u003cp>So go on out. Pack a flask. Save your dollars. You’ll need ’em for tomorrow’s toast and coffee.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Sept. 23: \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">\u003cem>Tunnel Vision\u003c/em>, SF Punk Renaissance Kickoff.\u003c/a> \u003c/strong>In the early days of San Francisco punk rock, as bands like the Dead Kennedys and the Avengers forged a sound that would shape West Coast punk for years to come, even those who couldn’t play an instrument were instrumental in helping the scene stand out. V.Vale’s zine \u003ci>Search And Destroy,\u003c/i> with its in-depth interviews and pro-level photographs was just one way these exciting times were documented. The \u003ci>Tunnel Vision\u003c/i> photography exhibit\u003ci> \u003c/i>has pushed photographers and documentarians to dig through their archives and pull out some amazing footage from those days, including the still-in-progress film \u003ci>Buried In The Mix\u003c/i>. The $10 entry fee for this opening party includes a drink ticket. \u003ca href=\"http://ww2.kqed.org/arts/2015/09/20/in-the-beginning-ruby-ray-discusses-the-earliest-days-of-sf-punk/\" target=\"_blank\" rel=\"noopener\">Read more about the exhibition from KQED’s Kevin L. Jones here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Sept. 25: \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">Kool A.D. at The New Parish.\u003c/a> \u003c/strong>Das Racist, the New York based hip-hop collective, is still the project for which San Francisco native Victor Vazquez (aka Kool A.D.) is best known. But it doesn’t take much digging to realize that’s only the tip of the hyper-literate rapper/musician’s creative iceberg: Through a slew of solo projects and guest appearances that run the gamut from hardcore noise-punk to nerd rap (and, recently, visual art), he’s established himself as an artist who’s not afraid to take chances. Which is to say: thoroughly Bay Area to his core. $10 – $15; \u003ca href=\"http://thenewparish.com/event.cfm?id=221007&cart\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_rXE8KiQqAk'\n title='//www.youtube.com/embed/_rXE8KiQqAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Sept. 26: \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">\u003cem>Back to the Future\u003c/em> in Dolores Park.\u003c/a>\u003c/strong> Summer ain’t over ’til everyone has a sunburn, a slight hangover, and a sense of nostalgia for days gone by — whether they were three weeks ago or three decades ago. Achieve all of these elements and more at the season’s last outdoor movie screening in Dolores Park, featuring the 1985 classic in all its Delorean-esque glory. Best of all, it’s free! Come early to snag a spot; last year’s \u003cem>Clueless\u003c/em> screening filled up faster than you could say “As\u003cem> if.\u003c/em>” \u003ca href=\"http://sfntf.squarespace.com/filmnight/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 26 – Sunday, Sept. 27: \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Bay Area Blues Festival.\u003c/a>\u003c/strong> This is one of those cases where a merger is a great thing: The longstanding Downtown Martinez Italian Street Painting Festival and San Francisco’s Polk Street Blues Festival have combined forces, and the result is this sprawling multi-day music celebration on the streets of Martinez (which have a little more room to spread out, one might note, than those in San Francisco). Hear performances from local blues staples like Frankie G and the Conviction, Buckaroo Bonet, the West Coast Playboys, and more. \u003ca href=\"http://www.sresproductions.com/events/bay-area-blues-festival/\" target=\"_blank\" rel=\"noopener\">Free; details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Sept. 27: \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Folsom Street Fair.\u003c/a>\u003c/strong>\u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\"> \u003c/a>If you’ve been to the Folsom Street Fair, well, there’s no need for us to describe this gleefully irreverent celebration of all things kink and leather, with some 400,000 enthusiasts lining Folsom between 8th and 12th Streets in downtown SF. If you haven’t? Consider it a requirement before you can call yourself a San Franciscan. This free S&M fest isn’t for the faint of heart, to be sure — but that’s kinda the whole point. Grab a paddle and come prepared to see a politician or other locally famous figure in a whole new light. Haters not welcome! \u003ca href=\"http://www.folsomstreetfair.com/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Judge Throws Out Publisher's Claim to 'Happy Birthday' Copyright",
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"content": "\u003cp>LOS ANGELES — In a gift to many musicians, moviemakers and other content creators, a federal judge has found that the song \"Happy Birthday To You\" is entirely in the public domain.\u003c/p>\n\u003cp>The ruling could mean millions lost for the music publishing company that has been collecting on the copyright to one of the most widely sung songs in the world.\u003c/p>\n\u003cfigure id=\"attachment_10694173\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg\">\u003cimg class=\"wp-image-10694173 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg\" alt='Words and music to the song, \"Happy Birthday\" -- also known as \"Happy Birthday to You.\"' width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-800x668.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg 849w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Words and music to the song 'Happy Birthday' -- also known as 'Happy Birthday to You.'\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. District Judge George H. King found Tuesday that the song's original copyright, obtained by the Clayton F. Summy Co. from the song's writers and bought for $15 million in 1988 by Warner/Chappell Music Inc., covered only specific piano arrangements of the song, not its lyrics.\u003c/p>\n\u003cp>The basic \"Happy Birthday\" melody, derived from another popular children's song, \"Good Morning to All,\" has long been in the public domain, and King's decision, though it could be appealed, makes the entirety fair game for use.\u003c/p>\n\u003cp>\" 'Happy Birthday' is finally free after 80 years,\" Randall Newman, one of the plaintiffs' attorneys, told the Los Angeles Times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the co-plaintiffs, \u003ca href=\"https://www.facebook.com/rupamarya\" target=\"_blank\">Rupa Marya\u003c/a> of the San Francisco-based group \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\">Rupa and The April Fishes\u003c/a>, also praised the decision as momentous, saying, \"I hope we can start reimagining copyright law to do what it's supposed to do -- protect the creations of people who make stuff so that we can continue to make more stuff.\"\u003c/p>\n\u003cp>Marya said she had paid Warner/Chappell $455 to include the song on a live album during which members of her band and the audience sang the song to her the night before her birthday.\u003c/p>\n\u003cp>Warner/Chappell has said it doesn't try to collect royalties from just anyone singing the song but those who use it in a commercial enterprise.\u003c/p>\n\u003cp>\"We are looking at the court's lengthy opinion and considering our options,\" Warner/Chappell said in a statement following Tuesday's ruling.\u003c/p>\n\u003cp>King's decision comes in a lawsuit filed two years ago by Good Morning To You Productions Corp., which is working on a documentary film tentatively titled \"Happy Birthday.\" The company challenged the copyright, arguing that the song should be \"dedicated to public use and in the public domain.\"\u003c/p>\n\u003cp>\"Because Summy Co. never acquired the rights to the 'Happy Birthday' lyrics, defendants, as Summy Co.'s purported successors-in-interest, do not own a valid copyright in the Happy Birthday lyrics,\" King concluded in his 43-page ruling.\u003c/p>\n\u003cp>The lawsuit also asked for monetary damages and restitution of more than $5 million in licensing fees it said in 2013 that Warner/Chappell had collected from thousands of people and groups who have paid to use the song over the years.\u003c/p>\n\u003cp>Marshall Lamm, a spokesman for one of the plaintiffs' lawyers, said that issue would be determined later.\u003c/p>\n\u003cp>In his ruling, King went into great detail about the history of \"Happy Birthday To You,\" and its derivation from \"Good Morning to All.\"\u003c/p>\n\u003cp>That song was written by sisters Mildred Hill and Patty Hill sometime before 1893, the judge said, adding that the sisters assigned the rights to it and other songs to Clayton F. Summy, who copyrighted and published them in a book titled \"Song Stories for the Kindergarten.\"\u003c/p>\n\u003cp>\"The origins of the lyrics to Happy Birthday ... are less clear,\" the judge continued, adding the first known reference to them appeared in a 1901 article in the Inland Educator and Indiana School Journal.\u003c/p>\n\u003cp>The full lyrics themselves, King said, didn't appear in print until 1911.\u003c/p>\n\u003cp>Since then, they have become the most famous lyrics in the English language, according to Guinness World Records. The song is also sung in countless other languages around the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Andrew Dalton contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES — In a gift to many musicians, moviemakers and other content creators, a federal judge has found that the song \"Happy Birthday To You\" is entirely in the public domain.\u003c/p>\n\u003cp>The ruling could mean millions lost for the music publishing company that has been collecting on the copyright to one of the most widely sung songs in the world.\u003c/p>\n\u003cfigure id=\"attachment_10694173\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg\">\u003cimg class=\"wp-image-10694173 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg\" alt='Words and music to the song, \"Happy Birthday\" -- also known as \"Happy Birthday to You.\"' width=\"400\" height=\"334\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-400x334.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684-800x668.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/09/Happy-Birthday-To-You-e1442990739684.jpg 849w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Words and music to the song 'Happy Birthday' -- also known as 'Happy Birthday to You.'\u003c/figcaption>\u003c/figure>\n\u003cp>U.S. District Judge George H. King found Tuesday that the song's original copyright, obtained by the Clayton F. Summy Co. from the song's writers and bought for $15 million in 1988 by Warner/Chappell Music Inc., covered only specific piano arrangements of the song, not its lyrics.\u003c/p>\n\u003cp>The basic \"Happy Birthday\" melody, derived from another popular children's song, \"Good Morning to All,\" has long been in the public domain, and King's decision, though it could be appealed, makes the entirety fair game for use.\u003c/p>\n\u003cp>\" 'Happy Birthday' is finally free after 80 years,\" Randall Newman, one of the plaintiffs' attorneys, told the Los Angeles Times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the co-plaintiffs, \u003ca href=\"https://www.facebook.com/rupamarya\" target=\"_blank\">Rupa Marya\u003c/a> of the San Francisco-based group \u003ca href=\"http://www.theaprilfishes.com/\" target=\"_blank\">Rupa and The April Fishes\u003c/a>, also praised the decision as momentous, saying, \"I hope we can start reimagining copyright law to do what it's supposed to do -- protect the creations of people who make stuff so that we can continue to make more stuff.\"\u003c/p>\n\u003cp>Marya said she had paid Warner/Chappell $455 to include the song on a live album during which members of her band and the audience sang the song to her the night before her birthday.\u003c/p>\n\u003cp>Warner/Chappell has said it doesn't try to collect royalties from just anyone singing the song but those who use it in a commercial enterprise.\u003c/p>\n\u003cp>\"We are looking at the court's lengthy opinion and considering our options,\" Warner/Chappell said in a statement following Tuesday's ruling.\u003c/p>\n\u003cp>King's decision comes in a lawsuit filed two years ago by Good Morning To You Productions Corp., which is working on a documentary film tentatively titled \"Happy Birthday.\" The company challenged the copyright, arguing that the song should be \"dedicated to public use and in the public domain.\"\u003c/p>\n\u003cp>\"Because Summy Co. never acquired the rights to the 'Happy Birthday' lyrics, defendants, as Summy Co.'s purported successors-in-interest, do not own a valid copyright in the Happy Birthday lyrics,\" King concluded in his 43-page ruling.\u003c/p>\n\u003cp>The lawsuit also asked for monetary damages and restitution of more than $5 million in licensing fees it said in 2013 that Warner/Chappell had collected from thousands of people and groups who have paid to use the song over the years.\u003c/p>\n\u003cp>Marshall Lamm, a spokesman for one of the plaintiffs' lawyers, said that issue would be determined later.\u003c/p>\n\u003cp>In his ruling, King went into great detail about the history of \"Happy Birthday To You,\" and its derivation from \"Good Morning to All.\"\u003c/p>\n\u003cp>That song was written by sisters Mildred Hill and Patty Hill sometime before 1893, the judge said, adding that the sisters assigned the rights to it and other songs to Clayton F. Summy, who copyrighted and published them in a book titled \"Song Stories for the Kindergarten.\"\u003c/p>\n\u003cp>\"The origins of the lyrics to Happy Birthday ... are less clear,\" the judge continued, adding the first known reference to them appeared in a 1901 article in the Inland Educator and Indiana School Journal.\u003c/p>\n\u003cp>The full lyrics themselves, King said, didn't appear in print until 1911.\u003c/p>\n\u003cp>Since then, they have become the most famous lyrics in the English language, according to Guinness World Records. The song is also sung in countless other languages around the world.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press Writer Andrew Dalton contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Opera appoints Matthew Shilvock as New General Director",
"headTitle": "San Francisco Opera appoints Matthew Shilvock as New General Director | KQED",
"content": "\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Staging a night of opera is “a very complicated jigsaw puzzle,” says Matthew Shilvock. Music, theater, dance, architecture and writing must be arranged into a coherent whole. Today, the \u003ca href=\"http://sfopera.com/Home.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> announced Shilvock will become their primary puzzlemaster next August, as he steps into the role of general director, replacing David Gockley as he retires after 10 years at the helm of one of the country’s biggest opera companies.\u003c/p>\n\u003cp>Shilvock first came on board with the San Francisco Opera as part of Gockley’s transition team a decade ago and went on to become the company’s associate general director in 2010. The two men had worked together at Houston Grand Opera for three years prior to coming to the Bay Area, where Gockley was general director and Shilvock was his liaison.\u003c/p>\n\u003cp>Currently Shilvock manages and leads six departments: music operations, electronic media, education, rehersal, development and the opera’s professional artist training programs. Under his guidance, the opera began in 2007 it’s program of \u003ca href=\"http://sfopera.com/Season-Tickets/Opera-in-the-Park.aspx\" target=\"_blank\" rel=\"noopener\">free live opera simulcasts at the AT&T ballpark\u003c/a>. Shilvock also negotiated the media rights to make it possible to commercially release performances on home video, television and the internet.\u003c/p>\n\u003cp>Over the past 10 years, the San Francisco Opera has transformed from running deep deficits to having relatively stable finances. Some opera aficionados have accused Gockley of staging one too many crowd-pleasing Puccini productions, but he’s also known for mounting world premieres and for bringing musicals (including \u003cem>Porgy and Bess\u003c/em>, \u003cem>Show Boat\u003c/em> and this season’s \u003cem>Sweeney Todd\u003c/em>) to the opera stage. (Read \u003ca href=\"http://ww2.kqed.org/arts/2015/09/11/looking-back-at-david-gockleys-puccini-ful-years-at-sf-opera/\" target=\"_blank\" rel=\"noopener\">Charlise Tiee’s retrospective of Gockley’s years \u003c/a>at the San Francisco Opera for more on Gockley’s tenure.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Matthew now has the ultimate balancing act,” says Marc Scorca, president and CEO of \u003ca href=\"http://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">OPERA America\u003c/a>, an opera service organization. Scorca, who describes Shilvock as “thorough, meticulous and gracious at every minute,” has known the new director designate since 2002, when Shilvock became an OPERA America fellow.\u003c/p>\n\u003cp>“I’m not the first person to say this, but every financial decision has an artistic implication and every artistic decision has a financial implication,” Scorca says. “Matthew now holds the reins of doing something so hard to do, which is to make great art, keep the finances of the company strong and the audience curious and excited.”\u003c/p>\n\u003cp>Bay Area opera fans shouldn’t expect drastic changes as Shilvock takes over the directorship.\u003c/p>\n\u003cp>“We live and breathe on our relationship with our community,” Shilvock says. “That’s going to be as important now as it ever has been. I think taking advantage of the great energy and change that is happening in San Francisco at the moment is going to be essential as we look to the future.”\u003c/p>\n\u003cp>As part of his strategy, Shilvock says the company may form closer partnerships with performers, composers, directors and opera companies in Pacific Rim countries, particularly in China. He’s also eager to develop the programming at the company’s new 300-seat \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\" target=\"_blank\" rel=\"noopener\">Diane B. Wilsey Center for Opera\u003c/a>, opening next year at the Veterans Building. Between now and his appointment as director next August, Shilvock says he will be diving into programming the 2018/19 season.\u003c/p>\n\u003cp>Despite the fact that Shilvock is a protégé of Gockley’s, Scorca says not to expect Shilvock to be a carbon copy of the outgoing director. “But Matthew had great responsibility for realizing many of the productions at San Francisco and Houston Grand Opera,” Scorca says. “We know the sensibilities that have shaped him over the last 13 years. I think he’s going to be looking for vocal excellence, a wide mix of works from the classical repertoire and new material. So the values that San Francisco holds dear I think will be promoted by Matthew.”\u003c/p>\n\u003cp>Born and educated in England in 1976, Shilvock studied music at Oxford University and holds a master’s degree in public administration from the University of Massachusetts Amherst. Shilvock lives in Marin County with his wife Kate and their two children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The appointment of Shilvock comes at the end of a 10-month-long, international search. His five year contract as general director will last through July 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: KQED is a partner of San Francisco Opera. The orgnizations collaborate on the annual broadcast of opera productions. \u003c/em>\u003c/p>\n\u003cp>Staging a night of opera is “a very complicated jigsaw puzzle,” says Matthew Shilvock. Music, theater, dance, architecture and writing must be arranged into a coherent whole. Today, the \u003ca href=\"http://sfopera.com/Home.aspx\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> announced Shilvock will become their primary puzzlemaster next August, as he steps into the role of general director, replacing David Gockley as he retires after 10 years at the helm of one of the country’s biggest opera companies.\u003c/p>\n\u003cp>Shilvock first came on board with the San Francisco Opera as part of Gockley’s transition team a decade ago and went on to become the company’s associate general director in 2010. The two men had worked together at Houston Grand Opera for three years prior to coming to the Bay Area, where Gockley was general director and Shilvock was his liaison.\u003c/p>\n\u003cp>Currently Shilvock manages and leads six departments: music operations, electronic media, education, rehersal, development and the opera’s professional artist training programs. Under his guidance, the opera began in 2007 it’s program of \u003ca href=\"http://sfopera.com/Season-Tickets/Opera-in-the-Park.aspx\" target=\"_blank\" rel=\"noopener\">free live opera simulcasts at the AT&T ballpark\u003c/a>. Shilvock also negotiated the media rights to make it possible to commercially release performances on home video, television and the internet.\u003c/p>\n\u003cp>Over the past 10 years, the San Francisco Opera has transformed from running deep deficits to having relatively stable finances. Some opera aficionados have accused Gockley of staging one too many crowd-pleasing Puccini productions, but he’s also known for mounting world premieres and for bringing musicals (including \u003cem>Porgy and Bess\u003c/em>, \u003cem>Show Boat\u003c/em> and this season’s \u003cem>Sweeney Todd\u003c/em>) to the opera stage. (Read \u003ca href=\"http://ww2.kqed.org/arts/2015/09/11/looking-back-at-david-gockleys-puccini-ful-years-at-sf-opera/\" target=\"_blank\" rel=\"noopener\">Charlise Tiee’s retrospective of Gockley’s years \u003c/a>at the San Francisco Opera for more on Gockley’s tenure.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Matthew now has the ultimate balancing act,” says Marc Scorca, president and CEO of \u003ca href=\"http://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">OPERA America\u003c/a>, an opera service organization. Scorca, who describes Shilvock as “thorough, meticulous and gracious at every minute,” has known the new director designate since 2002, when Shilvock became an OPERA America fellow.\u003c/p>\n\u003cp>“I’m not the first person to say this, but every financial decision has an artistic implication and every artistic decision has a financial implication,” Scorca says. “Matthew now holds the reins of doing something so hard to do, which is to make great art, keep the finances of the company strong and the audience curious and excited.”\u003c/p>\n\u003cp>Bay Area opera fans shouldn’t expect drastic changes as Shilvock takes over the directorship.\u003c/p>\n\u003cp>“We live and breathe on our relationship with our community,” Shilvock says. “That’s going to be as important now as it ever has been. I think taking advantage of the great energy and change that is happening in San Francisco at the moment is going to be essential as we look to the future.”\u003c/p>\n\u003cp>As part of his strategy, Shilvock says the company may form closer partnerships with performers, composers, directors and opera companies in Pacific Rim countries, particularly in China. He’s also eager to develop the programming at the company’s new 300-seat \u003ca href=\"http://sfopera.com/Support-Us/Individual-Giving/Wilsey-Center/Wilsey-Center-Detailed-Information.aspx\" target=\"_blank\" rel=\"noopener\">Diane B. Wilsey Center for Opera\u003c/a>, opening next year at the Veterans Building. Between now and his appointment as director next August, Shilvock says he will be diving into programming the 2018/19 season.\u003c/p>\n\u003cp>Despite the fact that Shilvock is a protégé of Gockley’s, Scorca says not to expect Shilvock to be a carbon copy of the outgoing director. “But Matthew had great responsibility for realizing many of the productions at San Francisco and Houston Grand Opera,” Scorca says. “We know the sensibilities that have shaped him over the last 13 years. I think he’s going to be looking for vocal excellence, a wide mix of works from the classical repertoire and new material. So the values that San Francisco holds dear I think will be promoted by Matthew.”\u003c/p>\n\u003cp>Born and educated in England in 1976, Shilvock studied music at Oxford University and holds a master’s degree in public administration from the University of Massachusetts Amherst. Shilvock lives in Marin County with his wife Kate and their two children.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The appointment of Shilvock comes at the end of a 10-month-long, international search. His five year contract as general director will last through July 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The man who made a mark in Baby Boom America as a cub reporter has died: Actor Jack Larson, who played a sidekick to Superman's alter ego Clark Kent at the fictional Daily Planet newspaper, was 87.\u003c/p>\n\u003cp>The actor and playwright died at his home in the Los Angeles community of Brentwood, according to \u003ca href=\"http://losangeles.cbslocal.com/2015/09/21/actor-playwright-jack-larson-dies-at-87/\">CBS Los Angeles\u003c/a>, \u003cem>Variety \u003c/em>and multiple news outlets. A cause of death was not mentioned.\u003c/p>\n\u003cp>Larson rose to prominence in the 1950s, when \"The Adventures of Superman\" sidetracked his dreams of being a stage actor on Broadway. The runaway success of that show, starring George Reeves, made it hard for Larson to find new work; he eventually found success in writing plays and librettos.\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/2015/09/21/arts/television/jack-larson-a-playwright-better-known-as-jimmy-olsen-in-superman-dies-at-87.html\">The New York Times\u003c/a> reports:\u003c/p>\n\u003cblockquote>\u003cp>\"Although Mr. Larson was pleased that Jimmy Olsen developed into a comic role, his fears of being typecast were realized. After a particularly upsetting encounter with the producer Mervyn LeRoy, he was advised by the actor Montgomery Clift, with whom Mr. Larson was having a romantic relationship, to stop putting himself in those casting situations. So Mr. Larson gave up acting and made a new career.\"\u003c/p>\u003c/blockquote>\n\u003cp>That new career saw Larson write librettos and plays, including \"The Candied House\" (1966) and \"Chuck\" (1968), as well as helping produce films such as \"Perfect\" (1985) and \"Bright Lights, Big City\" (1988). On both plays and films, he often collaborated with his longtime partner, James Bridges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In turning to writing, Larson was also returning to the thing that had first brought him to the world of theater, when his instructors at Pasadena Junior College encouraged him to write.\u003c/p>\n\u003cp>Born in Los Angeles in 1928, Larson grew up in the Los Angeles suburb of Montebello. His mother worked as a Western Union clerk, and his father drove a milk truck and bowled -- something he passed along to his son.\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.supermanhomepage.com/tv/tv.php?topic=cast-crew/jack-larson\">Superman Homepage\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"While he did not enjoy school, Larson did like to bowl. By the age of 14, he had become the California state champion for his age group and was good enough to think that he would eventually turn professional. But, in the fall of 1945, Larson enrolled in the Pasadena Junior College (now known as Pasadena City College), an event that would drastically change his life. Larson said, 'My instructors discovered that I had a gift for writing and motivated me to write plays, and to be in plays as well.'\"\u003c/p>\u003c/blockquote>\n\u003cp>When he first started auditioning for parts in film studio projects, Larson later recounted, he lost out on one early job (portraying a kid on a bike) to a young woman who would go on to be a star.\u003c/p>\n\u003cp>\"Marilyn Monroe got that part. It was her first part,\" he said in an interview for David Poland's \"\u003ca href=\"https://www.youtube.com/watch?v=AA7n8Xszg08\">Oral History of Hollywood\u003c/a>\" series. With a laugh, he added, \"We wonder how she got it. But they changed it from a boy on a bicycle to a girl on a bicycle.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the 1990s, Larson appeared in episodes of \"Superboy\" and \"Lois and Clark: The New Adventures of Superman.\" In the latter, he portrayed an older version of Jimmy Olsen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jack+Larson%2C+Jimmy+Olsen+From+%27Superman%27+TV+Shows%2C+Dies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"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"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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