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"content": "\u003cp>Nearly two dozen artists showed up at the San Francisco Board of Supervisors meeting Tuesday in matching shirts and sailor hats, determined to make a splash to save their creative home at Hunters Point Naval Shipyard. Crying SOS — Save Our Studios — the artists from what was once \u003ca href=\"https://www.shipyardartists.com/\">the largest creative community in the country\u003c/a> have a simple request: to fix the roofs over their heads. \u003c/p>\n\u003cp>[aside postID='science_1993505']Even though the \u003ca href=\"https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.Cleanup&id=0902722#bkground\">Superfund\u003c/a> site has been grappling with \u003ca href=\"https://www.kqed.org/science/1993505/cleanup-of-san-francisco-superfund-site-has-been-badly-mishandled-lawsuit-alleges\">the downstream effects of radioactive contamination\u003c/a> for decades, the artist collective recently celebrated their \u003ca href=\"https://sfstandard.com/2024/04/27/san-francisco-hunters-point-shipyard-artists/\">40-year anniversary\u003c/a> at the shipyard. More than 200 working artists maintain studios at the nearly 500-acre site, and thousands of visitors pour through the area during the \u003ca href=\"https://www.shipyardartists.com/shipyard-open-studios-participating-artists/\">shipyard’s open studios\u003c/a>, taking in the fresh air, glittering views and a gantry crane taller than the Statue of Liberty. \u003c/p>\n\u003cp>Up for vote was an amendment to push out the construction and financing timeline of the Bayview-Hunters Point Redevelopment Plan by 30 years. Also proposed was the transfer of more than 2 million square feet of office and research space from the Hunters Point Naval Shipyard to Candlestick Point, given the ongoing delays associated with the toxic cleanup of the shipyard. \u003c/p>\n\u003cp>While there are separate plans for the shipyard and Candlestick Point, the two are considered one project under the purview of the developer FivePoint — even as the areas of land, and the communities invested in them, face very different realities. \u003c/p>\n\u003cfigure id=\"attachment_13967112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg\" alt=\"projected image of southeast SF with text on screen\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Redevelopment Project is described during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An extremely complicated situation’\u003c/h2>\n\u003cp>Key to the maintenance conundrum for the artists is the complex tangle of associations tied to the shipyard: the U.S. Navy owns the land but leases it to the City of San Francisco, which in turn subleases it to FivePoint (tasked with rehabilitating the property) — who rents the buildings to a group of artist master tenants. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Commission on Community Investment and Infrastructure (OCII), a successor agency to the city’s controversial Redevelopment Agency, also has \u003ca href=\"https://sfocii.org/projects/hunters-point-shipyard-candlestick-point-2/overview\">oversight over the area’s development\u003c/a>. \u003c/p>\n\u003cp>“It’s an extremely complicated situation,” said Barbara Ockel, the president of the nonprofit \u003ca href=\"https://shipyardtrust.org/\">Shipyard Trust for the Arts\u003c/a> (STAR) that represents the artist collective. “And it leads to a lot of finger pointing.” \u003c/p>\n\u003cp>The contract with FivePoint contains language stating the master tenants are responsible for maintenance of their buildings, but with rents still at their 1980s rates, there’s not enough funds for major repairs. \u003c/p>\n\u003cfigure id=\"attachment_13967115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg\" alt=\"people in matching shirts and sailor hats sit in wooden benches in city building\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hunters Point Shipyard artists listen during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024, about a planned board vote on amendments to the redevelopment plan for the Bayview-Hunters Point Redevelopment Project. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And so the debate starts, where does maintenance end and where does capital improvement begin?” Ockel said. “Everybody would agree that if you have to pay a million dollars for a new roof, that’s not maintenance — that’s an investment.” \u003c/p>\n\u003cp>Master tenant \u003ca href=\"https://caprichoframing.com/\">Julian Billotte\u003c/a> could be found on a recent Thursday re-gilding pre-1906 mirrors from the Flood Mansion for their new home at the San Mateo Historical Society. Without the space and low rents of the Hunters Point Naval Shipyard, his and many other artists’ work could not continue. He oversees the maintenance of Building 116 on Parcel B but said the rents have only allowed him to make small patches to the roofs when much more substantial repairs are required. \u003c/p>\n\u003cp>“Nobody’s ever had the rent raised no matter how long they’ve been here,” Billotte said. “Over 25 years, we’ve got people paying what they paid when they got here and we’re committed to maintaining that.” For now, he uses plastic bins along the roofs’ seams to catch water and encourages artists to use tarps to protect their work. \u003c/p>\n\u003cp>While Billotte said Tuesday during public comment that OCII has made a verbal promise to repair the roof, the artists want an assurance in writing. OCII did not respond to requests for comment in time for publication. \u003c/p>\n\u003cp>The artists are seeking more than a weathertight workspace — they want the guarantee they can remain on Parcel B in perpetuity. “We need stability,” Lorna Kollmeyer said. “And the assurance we can stay out here.” Kollmeyer and other artists are \u003ca href=\"https://www.change.org/p/save-parcel-b\">lobbying for an update\u003c/a> to the 25-year-old development plan to include a provision ensuring the parcel remains an ongoing campus for the arts.\u003c/p>\n\u003cfigure id=\"attachment_13967114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg\" alt=\"older person in white sailor hat speaks into mic\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorna Kollmeyer, a member of the Hunters Point Shipyard Artists, speaks during public comment at a Board of Supervisors meeting. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Frustrating delays for Bayview residents\u003c/h2>\n\u003cp>Additional changes to the redevelopment plan could derail much-needed and community-supported construction on Candlestick Point (also under FivePoint’s jurisdiction and connected to the future of the shipyard). A written protest of the current plan sent to the Board of Supervisors — not by the shipyard artists — delayed a vote on Tuesday. A final decision on amending the timeline and allocation was pushed to the next full Board of Supervisors meeting on Oct. 29. \u003c/p>\n\u003cp>While the artists want to preserve the buildings on Parcel B of the shipyard, Bayview residents surrounding Candlestick Park are aching for development after decades of delays. “When it comes to the African American community, it never happens,” said Rev. Arelious Walker during public comment. Another speaker, urging forward progress, invoked the words of Martin Luther King Jr.: “Out of a mountain of despair, a stone of hope.” \u003c/p>\n\u003cp>[aside postID='news_10583120']Pastors, parents, laborers and small-business owners from the Bayview community mostly spoke out in support of the Candlestick Point development, which will employ local contractors, create thousands of jobs and build over 7,200 new homes.\u003c/p>\n\u003cp>“I’m excited and sad at the same time,” said one speaker, her voice thick with tears. “There’s only 2 or 3% of us left in the city,” she continued, referring to the Black community that has historically been \u003ca href=\"https://sfstandard.com/2024/02/29/san-francisco-fillmore-destruction-documented/\">on the losing end of redevelopment\u003c/a>. “And we’ve accepted broken promises again and again.” \u003c/p>\n\u003cp>The artists have also been issued promises, only to watch their creative home stymied by the discovery of radioactive contamination, \u003ca href=\"https://www.justice.gov/opa/pr/united-states-joins-lawsuits-against-tetra-tech-ec-inc-alleging-false-claims-connection\">alleged criminal fraud by engineering firm Tetra Tech\u003c/a> and a failed effort to construct a new building of studios on Parcel A. The artists remain on month-to-month rental agreements with the constant fear their spaces may be demolished or repurposed. \u003c/p>\n\u003cp>“They are talking about erasing us,” said artist Leila Mansur. “Stop breaking our hearts, San Francisco.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It will be hard to use this land for other things, so why not protect the artists?” Kollmeyer said. “It could be such a win-win for everyone.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly two dozen artists showed up at the San Francisco Board of Supervisors meeting Tuesday in matching shirts and sailor hats, determined to make a splash to save their creative home at Hunters Point Naval Shipyard. Crying SOS — Save Our Studios — the artists from what was once \u003ca href=\"https://www.shipyardartists.com/\">the largest creative community in the country\u003c/a> have a simple request: to fix the roofs over their heads. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even though the \u003ca href=\"https://cumulis.epa.gov/supercpad/SiteProfiles/index.cfm?fuseaction=second.Cleanup&id=0902722#bkground\">Superfund\u003c/a> site has been grappling with \u003ca href=\"https://www.kqed.org/science/1993505/cleanup-of-san-francisco-superfund-site-has-been-badly-mishandled-lawsuit-alleges\">the downstream effects of radioactive contamination\u003c/a> for decades, the artist collective recently celebrated their \u003ca href=\"https://sfstandard.com/2024/04/27/san-francisco-hunters-point-shipyard-artists/\">40-year anniversary\u003c/a> at the shipyard. More than 200 working artists maintain studios at the nearly 500-acre site, and thousands of visitors pour through the area during the \u003ca href=\"https://www.shipyardartists.com/shipyard-open-studios-participating-artists/\">shipyard’s open studios\u003c/a>, taking in the fresh air, glittering views and a gantry crane taller than the Statue of Liberty. \u003c/p>\n\u003cp>Up for vote was an amendment to push out the construction and financing timeline of the Bayview-Hunters Point Redevelopment Plan by 30 years. Also proposed was the transfer of more than 2 million square feet of office and research space from the Hunters Point Naval Shipyard to Candlestick Point, given the ongoing delays associated with the toxic cleanup of the shipyard. \u003c/p>\n\u003cp>While there are separate plans for the shipyard and Candlestick Point, the two are considered one project under the purview of the developer FivePoint — even as the areas of land, and the communities invested in them, face very different realities. \u003c/p>\n\u003cfigure id=\"attachment_13967112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg\" alt=\"projected image of southeast SF with text on screen\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-04-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Bayview-Hunters Point Redevelopment Project is described during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘An extremely complicated situation’\u003c/h2>\n\u003cp>Key to the maintenance conundrum for the artists is the complex tangle of associations tied to the shipyard: the U.S. Navy owns the land but leases it to the City of San Francisco, which in turn subleases it to FivePoint (tasked with rehabilitating the property) — who rents the buildings to a group of artist master tenants. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Commission on Community Investment and Infrastructure (OCII), a successor agency to the city’s controversial Redevelopment Agency, also has \u003ca href=\"https://sfocii.org/projects/hunters-point-shipyard-candlestick-point-2/overview\">oversight over the area’s development\u003c/a>. \u003c/p>\n\u003cp>“It’s an extremely complicated situation,” said Barbara Ockel, the president of the nonprofit \u003ca href=\"https://shipyardtrust.org/\">Shipyard Trust for the Arts\u003c/a> (STAR) that represents the artist collective. “And it leads to a lot of finger pointing.” \u003c/p>\n\u003cp>The contract with FivePoint contains language stating the master tenants are responsible for maintenance of their buildings, but with rents still at their 1980s rates, there’s not enough funds for major repairs. \u003c/p>\n\u003cfigure id=\"attachment_13967115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg\" alt=\"people in matching shirts and sailor hats sit in wooden benches in city building\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-15-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hunters Point Shipyard artists listen during a Board of Supervisors meeting at City Hall in San Francisco on Oct. 22, 2024, about a planned board vote on amendments to the redevelopment plan for the Bayview-Hunters Point Redevelopment Project. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And so the debate starts, where does maintenance end and where does capital improvement begin?” Ockel said. “Everybody would agree that if you have to pay a million dollars for a new roof, that’s not maintenance — that’s an investment.” \u003c/p>\n\u003cp>Master tenant \u003ca href=\"https://caprichoframing.com/\">Julian Billotte\u003c/a> could be found on a recent Thursday re-gilding pre-1906 mirrors from the Flood Mansion for their new home at the San Mateo Historical Society. Without the space and low rents of the Hunters Point Naval Shipyard, his and many other artists’ work could not continue. He oversees the maintenance of Building 116 on Parcel B but said the rents have only allowed him to make small patches to the roofs when much more substantial repairs are required. \u003c/p>\n\u003cp>“Nobody’s ever had the rent raised no matter how long they’ve been here,” Billotte said. “Over 25 years, we’ve got people paying what they paid when they got here and we’re committed to maintaining that.” For now, he uses plastic bins along the roofs’ seams to catch water and encourages artists to use tarps to protect their work. \u003c/p>\n\u003cp>While Billotte said Tuesday during public comment that OCII has made a verbal promise to repair the roof, the artists want an assurance in writing. OCII did not respond to requests for comment in time for publication. \u003c/p>\n\u003cp>The artists are seeking more than a weathertight workspace — they want the guarantee they can remain on Parcel B in perpetuity. “We need stability,” Lorna Kollmeyer said. “And the assurance we can stay out here.” Kollmeyer and other artists are \u003ca href=\"https://www.change.org/p/save-parcel-b\">lobbying for an update\u003c/a> to the 25-year-old development plan to include a provision ensuring the parcel remains an ongoing campus for the arts.\u003c/p>\n\u003cfigure id=\"attachment_13967114\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg\" alt=\"older person in white sailor hat speaks into mic\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967114\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241022-HuntersPointShipyard-Artists-07-BL-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lorna Kollmeyer, a member of the Hunters Point Shipyard Artists, speaks during public comment at a Board of Supervisors meeting. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Frustrating delays for Bayview residents\u003c/h2>\n\u003cp>Additional changes to the redevelopment plan could derail much-needed and community-supported construction on Candlestick Point (also under FivePoint’s jurisdiction and connected to the future of the shipyard). A written protest of the current plan sent to the Board of Supervisors — not by the shipyard artists — delayed a vote on Tuesday. A final decision on amending the timeline and allocation was pushed to the next full Board of Supervisors meeting on Oct. 29. \u003c/p>\n\u003cp>While the artists want to preserve the buildings on Parcel B of the shipyard, Bayview residents surrounding Candlestick Park are aching for development after decades of delays. “When it comes to the African American community, it never happens,” said Rev. Arelious Walker during public comment. Another speaker, urging forward progress, invoked the words of Martin Luther King Jr.: “Out of a mountain of despair, a stone of hope.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pastors, parents, laborers and small-business owners from the Bayview community mostly spoke out in support of the Candlestick Point development, which will employ local contractors, create thousands of jobs and build over 7,200 new homes.\u003c/p>\n\u003cp>“I’m excited and sad at the same time,” said one speaker, her voice thick with tears. “There’s only 2 or 3% of us left in the city,” she continued, referring to the Black community that has historically been \u003ca href=\"https://sfstandard.com/2024/02/29/san-francisco-fillmore-destruction-documented/\">on the losing end of redevelopment\u003c/a>. “And we’ve accepted broken promises again and again.” \u003c/p>\n\u003cp>The artists have also been issued promises, only to watch their creative home stymied by the discovery of radioactive contamination, \u003ca href=\"https://www.justice.gov/opa/pr/united-states-joins-lawsuits-against-tetra-tech-ec-inc-alleging-false-claims-connection\">alleged criminal fraud by engineering firm Tetra Tech\u003c/a> and a failed effort to construct a new building of studios on Parcel A. The artists remain on month-to-month rental agreements with the constant fear their spaces may be demolished or repurposed. \u003c/p>\n\u003cp>“They are talking about erasing us,” said artist Leila Mansur. “Stop breaking our hearts, San Francisco.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It will be hard to use this land for other things, so why not protect the artists?” Kollmeyer said. “It could be such a win-win for everyone.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "liam-payne-one-direction-dies-hotel-fall-argentina",
"title": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
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"headTitle": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall | KQED",
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"content": "\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSW2M-BB1NE\u003c/p>\n\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\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/vSW2M-BB1NE'\n title='//www.youtube.com/embed/vSW2M-BB1NE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The employees of NIAD Art Center, a Richmond studio serving artists with disabilities, announced Tuesday morning that they will form a union.\u003c/p>\n\u003cp>NIAD Unidad will be affiliated with the American Federation of State, County and Municipal Employees (AFSCME) Council 57, Cultural Workers United, a union representing museum, library and zoo workers. AFSCME Council 57 also represents workers at sister studios Creative Growth in Oakland and Creativity Explored in San Francisco, both of which unionized this year. [aside postid='arts_13955182']\u003c/p>\n\u003cp>After NIAD workers delivered a letter of intent to executive director Amanda Eicher Tuesday morning, the organization’s board executive committee voted unanimously to recognize NIAD Unidad.\u003c/p>\n\u003cp>“We look forward to working with NIAD’s union as the process unfolds,” Eicher wrote in an email to KQED.\u003c/p>\n\u003cp>Worker priorities outlined in the letter include a living wage; an independent human resources department; the ability to build a “viable, long-term career” at NIAD; transparency; and the right to form a union without retaliation. The majority of 35 eligible staff members have signed a union card, according to studio facilitator Kate Laster.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of us cherish the longevity of NIAD artists’ careers and we are committed to their overall well-being,” the letter reads. “We recognize the importance of stability and continuity of care, and we want to work alongside these artists for the long haul. To do this, we believe that a union is necessary to foster a work environment that allows staff to build sustainable careers at NIAD.”\u003c/p>\n\u003cfigure id=\"attachment_13966553\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">NIAD studio facilitators Kate Laster and Ocean Escalanti screen print union posters. \u003ccite>(Steph Kudisch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview, lead studio facilitator Liam Golden, who has worked at NIAD for over a decade, said that he and his colleagues have a good relationship with leadership. Unionizing, he said, is an extension of the progressive values that guide NIAD’s workplace culture.\u003c/p>\n\u003cp>“We just felt that it was time to take the step to show that art workers and progressive studios are essential members of communities,” said Golden, “and should be supported and feel like their workspaces are ones that have accountability, respect and also longevity.”\u003c/p>\n\u003cp>Longevity is important for workers like studio facilitator and community programs assistant Ocean Escalanti, who has worked at NIAD for three years. She says that while there’s a core group of staffers who’ve been at NIAD for 10 years or longer, other employees have left because of the current pay rate and challenges of the job. In addition to assisting artists on their creative projects, many NIAD employees do care work such as helping artists with mobility issues during meal times and restroom breaks.\u003c/p>\n\u003cp>“It can be very emotionally and physically demanding,” she said. “I think a lot of folks might find that, to do [our] work at our given pay rate and benefits, it’s harder to function in this way for a long period of time.”\u003c/p>\n\u003cfigure id=\"attachment_13966569\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">NIAD employees work on a union banner. \u003ccite>(Courtesy of NIAD Unidad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NIAD, Creative Growth and Creativity Explored were founded by artist Florence Ludins-Katz and psychologist Elias Katz in the 1970s and ’80s. Since, dozens of like-minded progressive art studios have opened around the nation. The three Bay Area studios share a mission but operate independently of one another, save for occasional collaborations like the recent SFMOMA exhibition \u003ca href=\"https://www.sfmoma.org/read/art-knows-no-bounds/\">\u003ci>Art Knows No Bounds\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is where it all got started,” said Golden. “So I think it’s important [for us] to be leaders not only for our local community, but for other national and international progressive art studios.”\u003c/p>\n\u003cp>For Creativity Explored union member Brittnyana Pierro, unionizing is “an opportunity for us to build a rapport that we haven’t had before.” [aside postid='arts_13954144']\u003c/p>\n\u003cp>Now that AFSCME Council 57 will soon represent workers at all three Bay Area studios, NIAD staffers say they hope for more collaboration to address the unique challenges of their field. Workers at Oakland Museum of California also joined AFSCME Council 57 this year, joining a wave of \u003ca href=\"https://www.whitehouse.gov/cea/written-materials/2022/09/05/the-state-of-our-unions/?utm_source=npr_newsletter&utm_medium=email&utm_content=20230227&utm_term=8035455&utm_campaign=money&utm_id=208962&orgid=92&utm_att1=\">unionization efforts nationwide\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We just see a really big need for this stuff right now,” said Escalanti. “And it seems like it’s kind of catching a lot of cool uptick in how artists are able to have equal pay and a livable wage.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After NIAD workers delivered a letter of intent to executive director Amanda Eicher Tuesday morning, the organization’s board executive committee voted unanimously to recognize NIAD Unidad.\u003c/p>\n\u003cp>“We look forward to working with NIAD’s union as the process unfolds,” Eicher wrote in an email to KQED.\u003c/p>\n\u003cp>Worker priorities outlined in the letter include a living wage; an independent human resources department; the ability to build a “viable, long-term career” at NIAD; transparency; and the right to form a union without retaliation. The majority of 35 eligible staff members have signed a union card, according to studio facilitator Kate Laster.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of us cherish the longevity of NIAD artists’ careers and we are committed to their overall well-being,” the letter reads. “We recognize the importance of stability and continuity of care, and we want to work alongside these artists for the long haul. To do this, we believe that a union is necessary to foster a work environment that allows staff to build sustainable careers at NIAD.”\u003c/p>\n\u003cfigure id=\"attachment_13966553\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/printing-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">NIAD studio facilitators Kate Laster and Ocean Escalanti screen print union posters. \u003ccite>(Steph Kudisch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an interview, lead studio facilitator Liam Golden, who has worked at NIAD for over a decade, said that he and his colleagues have a good relationship with leadership. Unionizing, he said, is an extension of the progressive values that guide NIAD’s workplace culture.\u003c/p>\n\u003cp>“We just felt that it was time to take the step to show that art workers and progressive studios are essential members of communities,” said Golden, “and should be supported and feel like their workspaces are ones that have accountability, respect and also longevity.”\u003c/p>\n\u003cp>Longevity is important for workers like studio facilitator and community programs assistant Ocean Escalanti, who has worked at NIAD for three years. She says that while there’s a core group of staffers who’ve been at NIAD for 10 years or longer, other employees have left because of the current pay rate and challenges of the job. In addition to assisting artists on their creative projects, many NIAD employees do care work such as helping artists with mobility issues during meal times and restroom breaks.\u003c/p>\n\u003cp>“It can be very emotionally and physically demanding,” she said. “I think a lot of folks might find that, to do [our] work at our given pay rate and benefits, it’s harder to function in this way for a long period of time.”\u003c/p>\n\u003cfigure id=\"attachment_13966569\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966569\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Banner-Making-scaled-e1728946754578-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">NIAD employees work on a union banner. \u003ccite>(Courtesy of NIAD Unidad)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NIAD, Creative Growth and Creativity Explored were founded by artist Florence Ludins-Katz and psychologist Elias Katz in the 1970s and ’80s. Since, dozens of like-minded progressive art studios have opened around the nation. The three Bay Area studios share a mission but operate independently of one another, save for occasional collaborations like the recent SFMOMA exhibition \u003ca href=\"https://www.sfmoma.org/read/art-knows-no-bounds/\">\u003ci>Art Knows No Bounds\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>“The Bay Area is where it all got started,” said Golden. “So I think it’s important [for us] to be leaders not only for our local community, but for other national and international progressive art studios.”\u003c/p>\n\u003cp>For Creativity Explored union member Brittnyana Pierro, unionizing is “an opportunity for us to build a rapport that we haven’t had before.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that AFSCME Council 57 will soon represent workers at all three Bay Area studios, NIAD staffers say they hope for more collaboration to address the unique challenges of their field. Workers at Oakland Museum of California also joined AFSCME Council 57 this year, joining a wave of \u003ca href=\"https://www.whitehouse.gov/cea/written-materials/2022/09/05/the-state-of-our-unions/?utm_source=npr_newsletter&utm_medium=email&utm_content=20230227&utm_term=8035455&utm_campaign=money&utm_id=208962&orgid=92&utm_att1=\">unionization efforts nationwide\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We just see a really big need for this stuff right now,” said Escalanti. “And it seems like it’s kind of catching a lot of cool uptick in how artists are able to have equal pay and a livable wage.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "heres-everyone-caught-in-the-web-of-the-sean-diddy-combs-allegations-so-far",
"title": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far",
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"headTitle": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far | KQED",
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"content": "\u003cp>\u003ci>Updated 10:17 a.m. Oct. 14, 2024.\u003c/i>\u003c/p>\n\u003cp>Sean “Diddy” Combs remains in a Brooklyn jail while awaiting a May 5 trial on \u003ca href=\"https://www.npr.org/2024/09/16/g-s1-23363/sean-diddy-combs-faces-federal-charges-in-new-york\">federal charges of sex trafficking and racketeering\u003c/a>. The hip-hop mogul has pleaded not guilty on all charges and has been denied bail twice thus far.\u003c/p>\n\u003cp>[aside postid='arts_13954740']Before and after his arrest, Combs has also been served \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">more than two dozen civil lawsuits\u003c/a> for physical assault, rape and more. The indictment and many of the lawsuits name Combs’ numerous business ventures and claim they are complicit in financing and enabling the rapper’s abuse inside and outside of the recording studio. They also detail how Combs allegedly used his position of power in the entertainment industry to lure, coerce and silence those around him.\u003c/p>\n\u003cp>Here’s an ongoing list of notable people named in lawsuits and criminal investigations against Combs so far, excluding the accusers who have chosen not to reveal their names.\u003c/p>\n\u003chr>\n\u003ch2>The Accusers\u003c/h2>\n\u003cp>\u003cstrong>Casandra Ventura, aka Cassie\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer was in a personal and professional relationship with Combs for over a decade. In November 2023, Ventura filed a federal lawsuit against Combs alleging years of physical, sexual and emotional abuse. The lawsuit also named Bad Boy Entertainment, Bad Boy Records, Epic Records and Combs Enterprises. A day after the filing, the two parties settled the trafficking, rape and physical assault case out of court — but Ventura’s willingness to come forward opened the floodgates for nearly a dozen other lawsuits against Combs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair reportedly met in 2005, when Ventura was 19 and Combs was 37. The following year, Ventura signed a deal with Bad Boy Entertainment and released her self-titled debut album. Ventura’s lawsuit alleged this was the beginning of Combs’ coercion and abuse, which she said completely took over her life and included forcing her to take illicit substances, forcing her to participate in sex with male sex workers while Combs filmed her — encounters Combs referred to as “freakoffs” — and frequent beatings. The lawsuit stated that the beatings were often witnessed by Combs’ staff, employees of Bad Boy Entertainment and Combs’ affiliated businesses.\u003c/p>\n\u003cp>Earlier this year, CNN published \u003ca href=\"https://www.npr.org/2024/05/17/1252221941/sean-combs-cassie-ventura-cnn-video\">footage\u003c/a> dated to 2016 that showed Combs repeatedly hitting and kicking Ventura in the hallway of a Los Angeles hotel. Shortly after, Ventura took to Instagram to address the video and subsequent public response. “The outpouring of love has created a place for my younger self to settle and feel safe now, but this is only the beginning,” \u003ca href=\"https://www.instagram.com/p/C7T6OCKRJ-W/\">she wrote\u003c/a>. “Domestic Violence is THE issue. It broke me down to someone I never thought I would become. With a lot of hard work, I am better today, but I will always be recovering from my past.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joi Dickerson-Neal\u003c/strong>\u003c/p>\n\u003cp>Days after Ventura’s lawsuit, a woman named Joi Dickerson filed a lawsuit accusing Combs of drugging, sexually harassing and abusing her and distributing “revenge porn.” The suit states that Dickerson was a psychology student at Syracuse University when she agreed to go on a date with Combs in 1991. She had appeared in one of the rapper’s music videos. After the pair had dinner, the suit alleges that Combs pressured Dickerson to keep the night going and drove them to a recording studio. There, Dickerson says she realized she had been drugged and was unable to get out of the car, since she could no longer stand or walk on her own. This is when the suit alleges that Combs took her to another location and proceeded to sexually assault her.\u003c/p>\n\u003cp>[aside postid='arts_13964507']Days later, Dickerson was told by a male friend that Combs had recorded the assault and had shown it to him and several others. The lawsuit states that the ensuing feelings of violation and humiliation derailed Dickerson’s studies and have had prolonged effects on her mental health, career and economic opportunities. Like Ventura, Dickerson filed the lawsuit under New York’s Adult Survivors Act, which provided a one-year window for victims of sexual abuse who were age 18 or older at the time of the crime to file civil action regardless of the statute of limitations of the crimes themselves.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Liza Gardner\u003c/strong>\u003c/p>\n\u003cp>Last November, Liza Gardner filed a lawsuit alleging that in 1990, she was raped by Combs and R&B singer Aaron Hall. The lawsuit says that days later, Combs assaulted and choked Gardner until she lost consciousness.\u003c/p>\n\u003cp>In an amended complaint filed Oct. 8, Gardner adds that she was 16 years old when she was invited to New Jersey from her home in North Carolina by her friends DeVante Swing and Dalvin DeGrate of the R&B group Jodeci. The lawsuit states that Jodeci’s housing, where Gardner was staying, was “subsidized” by their label, Uptown Records, a subsidiary of MCA and UMG. It goes on to allege that Gardner and her 15-year-old friend, Monica Case, met Combs and Hall at an MCA Records event in New York, where they were reportedly supplied with alcohol. Combs and Hall allegedly provided the minors with more drinks and with marijuana later that night.\u003c/p>\n\u003cp>The lawsuit states that Gardner and her friends were later taken back to Hall’s apartment in New Jersey, where Combs raped Gardner. The suit states that unbeknownst to Gardner at the time, Devante Swing was in the room at the time and did nothing to stop Combs. Swing was added as a co-defendant in the new complaint for “aiding and abetting” the sexual assault.\u003c/p>\n\u003cp>The lawsuit also names UMG Recordings, Universal Music Group and more.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Rodney “Lil Rod” Jones\u003c/strong>\u003c/p>\n\u003cp>Producer Rodney “Lil Rod” Jones worked with Combs on his 2023 release, \u003cem>The Love Album: Off the Grid\u003c/em>. In February, Jones filed a lawsuit alleging that during the making of the album — from 2022 to 2023 — he lived with Combs, who he says repeatedly groped him, forced him to solicit sex workers, take illegal drugs, and more. The suit states that Combs would often walk around naked in front of Jones, and that the music mogul attempted to groom the producer into engaging in sex with other men in the music industry, allegedly promising Jones a Grammy if he complied. Jones also alleges that a cousin of rapper Yung Miami, who was dating Combs at the time, sexually assaulted him in Combs’ home in 2022 in front of Combs and his staff.\u003c/p>\n\u003cp>[aside postid='arts_13962885']Jones’ lawsuit also names Combs’ son, Justin Dior Combs, Love Records, Combs Global Enterprises and Combs’ chief of staff, Kristina Khorram, as co-defendants. In addition to the allegations of abuse, the suit describes a shooting at a recording studio involving Combs, his son Justin Dior Combs and an unnamed victim. The suit also claims that Combs did not properly compensate Jones for his work on \u003cem>The Love Album.\u003c/em>\u003c/p>\n\u003cp>The lawsuit originally included Universal Music Group, Motown Records, former Motown CEO Ethiopia Habtemariam and UMG chairman and CEO Lucian Grainge as co-defendants. Lawyers for Grainge and UMG denied their involvement in the allegations, eventually leading Jones’ lawyer to drop Grainge and the labels from the charges.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Crystal McKinney\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png\" alt=\"A beautiful blond woman wearing a coat with a fur collar.\" width=\"2000\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1920x1273.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crystal McKinney. \u003ccite>(Arnaldo Magnani/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May, Crystal McKinney filed a lawsuit against Combs, Bad Boy Entertainment, Universal Music Group (UMG) and Combs’ clothing company, Sean John Clothing. The charges against UMG Recordings were later dismissed, and Daddy’s House Recordings was added as a co-defendant.\u003c/p>\n\u003cp>The suit states that in 2003, McKinney was 22 years old and working as a model when an unnamed designer introduced her to Combs at a Sean John fashion show in New York City. Combs allegedly expressed interest in getting to know McKinney better and helping her modeling career grow.\u003c/p>\n\u003cp>Later that night, he invited her to a recording studio, where McKinney says Combs and several other men were smoking marijuana and drinking. She took a hit of a joint, which according to the lawsuit, she believes was laced with another substance. The lawsuit states that Combs pressured McKinney to continue drinking and smoking, and as she became more intoxicated, she was led to a bathroom by Combs, who forced her to perform oral sex on him. Afterward, McKinney lost consciousness and awoke in a taxi en route to the designer’s apartment. The lawsuit states that following the assault, McKinney became severely depressed. According to the lawsuit, she believes Combs “blackballed” her in the industry, which led to the downfall of her modeling career, and has had long-lasting effects on her mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>April Lampros\u003c/strong>\u003c/p>\n\u003cp>In May, April Lampros filed a lawsuit naming Combs, Bad Boy Entertainment and Arista Records, a subsidiary of Sony Music. Lampros met Combs in 1994 while studying at the Fashion Institute of Technology in New York City. She says Combs often invited her to the Bad Boy studio, promised to mentor and help her advance her career and began “love-bombing” her. They started dating and Lampros would often travel to see Combs, though he asked that their relationship be kept private.\u003c/p>\n\u003cp>[aside postid='arts_13956667']In the suit, Lampros accuses Combs of sexually assaulting her on four separate occasions and repeatedly threatening to harm her, both physically and professionally. In one such instance, Combs allegedly forced Lampros and his then-girlfriend Kim Porter to take ecstasy, forced them to engage in sex while he watched and then raped Lampros. Though she tried to distance herself from Combs as the relationship turned abusive, Lampros says Combs continually contacted her, and she feared the repercussions of rebuffing his advances. The lawsuit states that after Lampros’ relationship with Combs had ended, she was told by someone she knew that he had seen a video of her and Combs having sex, recorded without her knowledge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Derrick Lee Cardello-Smith\u003c/strong>\u003c/p>\n\u003cp>In June, a man incarcerated in Michigan filed a lawsuit against Combs alleging that the rapper drugged and sexually assaulted him in Detroit in 1997. During a hearing in September, a default judgment was granted to Cardello-Smith for $100 million after Combs and his lawyers failed to appear in court. Shortly after, the judgment was set aside on grounds that Cardello-Smith’s lawsuit, mailed to a Combs residence in Los Angeles, was not properly served. Cardello-Smith is currently serving sentences for kidnapping and criminal sexual conduct.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Adria English\u003c/strong>\u003c/p>\n\u003cp>In July, a woman named Adria English filed a lawsuit against Combs, Bad Boy Entertainment, Sean John Clothing, Combs Global Enterprises, Tamiko Thomas, Jacob Arabov aka “Jacob The Jeweler,” \u003cem>VIBE\u003c/em> magazine, Penske Media Corporation and several unnamed defendants. The suit alleges that in 2004, English was working as a dancer at a club in New York City when she and her then-boyfriend, aspiring model Anthony Gallo, were hired to work at one of Combs’ famous “White Parties” in the Hamptons.\u003c/p>\n\u003cp>English alleges that while working at the party, she was forced to drink alcohol, which she believes was laced with ecstasy, and forced to consume narcotics. The suit alleges that Combs and a Bad Boy Entertainment employee continued to hire her to work at “White Parties” in New York and in Miami. According to the lawsuit, around the third event, English alleges that she was asked to swap the usual white attire for a black mini-dress and forced to begin having intercourse with guests. She believes the black dress was meant to signal to guests that she was a “sex trafficked sex worker.”\u003c/p>\n\u003cp>The lawsuit names Jacob Arabov aka “Jacob The Jeweler” as one such guest she was coerced into having intercourse with, along with other unnamed defendants. English believes there are secret recordings of those defendants sexually assaulting her in Combs’ homes while she was unconscious.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Dawn Richard\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966509\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png\" alt=\"A Black woman wearng a gold jacket talks into a microphone.\" width=\"2000\" height=\"1325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1920x1272.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Josh Brasted/Getty Images for ESSENCE/Getty Images North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, singer Dawn Richard filed a \u003ca href=\"https://www.npr.org/2024/09/12/nx-s1-5110001/dawn-richard-diddy-danity-kane-lawsuit\">lawsuit\u003c/a> against Combs for sexual assault and battery. The complaint also states that Richard witnessed Combs beat and abuse Ventura on many occasions.\u003c/p>\n\u003cp>Richard first met Combs when she auditioned for the MTV show \u003cem>Making the Band\u003c/em> in 2004 and was selected to be a member of the group Danity Kane under Combs’ mentorship. The lawsuit alleges that Richard and her bandmates were subjected to inhumane working conditions during their time on the show and in the musical group, sometimes being forced to rehearse for up to 48 hours without food or breaks and often being berated by Combs. The complaint states that the abusive behavior continued throughout Richard’s professional relationship with Combs, and that he instilled a culture of fear in the women he worked with.\u003c/p>\n\u003cp>[aside postid='arts_13918217']After Danity Kane disbanded in 2009, Richard continued to work with Combs in the trio Diddy — Dirty Money, along with singer Kalenna Harper — who allegedly also witnessed much of Combs’ abusive behavior and was subject to his numerous threats. The lawsuit alleges Combs would force Richard to take meetings while he was in his underwear, and he would barge into her dressing room unannounced and would grope her breasts and buttocks during stylist fittings.\u003c/p>\n\u003cp>In one instance in 2010, the lawsuit states that Combs berated Richard and Harper in the lobby of SIR Studios and attempted to punch Richard when she asked him to stop calling them “bitches” in front of people. Richard alleges the women were then ushered into a company car and that Combs and Harve Pierre falsely imprisoned them in the vehicle for over two hours.\u003c/p>\n\u003cp>In addition to the allegations of abuse, Richard’s lawsuit demands unpaid salaries, royalties and wages for Richard’s work as part of Danity Kane and Diddy — Dirty Money. The complaint also names Harve Pierre, Remote Productions, Bad Boy Entertainment, Daddy’s House Recording Studio and a number of other music, publishing and finance corporations associated with Combs for enabling his violence.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Thalia Graves\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966510\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png\" alt=\"A light skinned Black woman sits on a white armchair wearing a white top.\" width=\"2000\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1020x692.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-768x521.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1536x1041.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1920x1302.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thalia Graves. \u003ccite>(Rodin Eckenroth/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, a woman named Thalia Graves filed a \u003ca href=\"https://www.npr.org/2024/09/24/g-s1-24401/sean-diddy-combs-graves-rape-lawsuit\">lawsuit\u003c/a> accusing Combs and his bodyguard Joseph Sherman of raping her, recording the assault without her knowledge and distributing the video as pornography.\u003c/p>\n\u003cp>Graves alleges that the assault took place in 2001, when she was 25 years old and dating an unnamed record producer who worked with Combs. She says Combs and Sherman took advantage of her relationship with their colleague to lure her to a recording studio alone, where they gave her a drink she believes was laced with some kind of drug. The lawsuit says Graves lost consciousness and awoke to find herself bound and restrained; Combs and Sherman then proceeded to take turns raping her.\u003c/p>\n\u003cp>Graves says she did not report the alleged crime out of fear of Combs’ retaliation, and that her boyfriend at the time discouraged her from doing so because it might hurt his career. In November 2023, Graves alleges she learned the rape had been recorded by Sherman and Combs, who showed it to others with the purpose of humiliating Graves and her then-boyfriend. The lawsuit details how the crime and the knowledge of its recording has had dire, long-lasting consequences on Graves’ mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Ashley Parham\u003c/strong>\u003c/p>\n\u003cp>On Oct. 15, a woman named Ashley Parham filed a lawsuit against Combs in California involving sexual assault, battery, rape, sexual abuse, false imprisonment and kidnapping. Parham alleges that in 2018, she met a man named Shane Pearce who was associated with Combs. Parham says Pearce called Combs on FaceTime in front of her, but she made remarks about being unimpressed because “she believed Defendant Diddy had something to do with the murder of Tupac Shakur.” Combs allegedly became upset by Parham’s statements during the call.\u003c/p>\n\u003cp>The complaint says that some time later, Pearce invited Parham over to his home. While she was there, Combs allegedly arrived with Kristina Khorram and several unnamed others. The lawsuit states that Combs was angry at Parham for how she had treated him over the video call. Combs allegedly threatened to physically harm Parham with a knife, while Khorram allegedly said they could “sell” the plaintiff for sex. The lawsuit states that Pearce and Combs then removed Parham’s clothing and Combs squirted Parham with what she believes was an oil or lubricant. According to the lawsuit, Khorram was instructed by Diddy to insert a syringe into Parham’s vagina. The lawsuit goes on to state that Combs, Pearce and two unnamed defendants violently raped Parham and that Combs forced an unknown pill down the woman’s throat.\u003c/p>\n\u003cp>Kristina Khorram, Shane Pearce and several unnamed men and women are listed as co-defendants in the lawsuit.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Bryana “Bana” Bongolan\u003c/strong>\u003c/p>\n\u003cp>On Nov. 27, fashion designer Bryana “Bana” Bongolan filed a lawsuit against Combs in California that alleges the mogul groped her breasts, dangled her over the balcony of a 17th floor apartment and frequently threatened and intimidated her throughout their working relationship.\u003c/p>\n\u003cp>The lawsuit states that Bongolan worked with Cassie Ventura at Diamond Supply Co. in 2014, which led the two women to develop a friendship. As they got closer, Bongolan alleges that she became aware of Combs’ violent and abusive behavior towards Ventura, eventually leading to Ventura showing Bongolan bruises and a black eye she received from Combs. According to the lawsuit, Bongolan worked closely with both Ventura and Combs, designing Bad Boy jackets for the mogul, creating costumes for the Bad Boy Family Reunion Tour, starting a clothing line called “Cassie + BANA,” and designing merchandise and cover art for Ventura.\u003c/p>\n\u003cp>Throughout the time they worked together, Bongolan alleges that Combs intimidated and threatened her, including an instance in which he forcibly drugged her and another in which he said “You have no idea what I could do to you. I could kill you.” The lawsuit states that in September of 2016, Bongolan, her then-girlfriend and Ventura were at Ventura’s apartment when Combs began violently knocking on the door. After making his way in, Bongolan alleges he found her on the balcony and began groping her breasts. When she resisted, she alleges that he picked her up and held her over the ledge of the 17th floor balcony, and then slammed her into patio furniture.\u003c/p>\n\u003cp>Ventura’s attorneys declined to comment on Bongolan’s lawsuit.\u003c/p>\n\u003chr>\n\u003ch2>The Accused\u003c/h2>\n\u003cp>\u003cb>Jay-Z\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13832289\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg\" alt=\"Jay-Z, on the red carpet to promote the film The Great Gatsby in New York in 2013.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13832289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-520x292.jpg 520w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Jay-Z, on the red carpet to promote the film ‘The Great Gatsby’ in New York in 2013. \u003ccite>(Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October, an unnamed plaintiff filed a civil lawsuit against Combs alleging that he and an unnamed male celebrity assaulted her at an MTV Video Music Awards after-party in 2000, when she was only 13 years old. On December 8, the lawsuit was amended and refiled to name Jay-Z, whose real name is Shawn Carter, as the second assailant.\u003c/p>\n\u003cp>The complaint alleges that in September of 2000, the unnamed victim was attempting to gain entry to the VMAs in New York City when she approached a limousine driver who told her he worked for Combs and could take her to an after-party and did. The plaintiff alleges that later that night, when she arrived, she was asked to sign a document she now believes was a non-disclosure agreement. The complaint states that the plaintiff accepted a drink that made her woozy, leading her to retire to one of the bedrooms. She alleges that Carter, Combs and an unnamed female celebrity entered the room and that the two men raped her while the female celebrity stood by and watched.\u003c/p>\n\u003cp>In a statement emailed to NPR, Carter denied the allegations and stated that he was the target of a blackmail attempt designed to extort settlement money.\u003c/p>\n\u003cp>“These allegations are so heinous in nature that I implore you to file a criminal complaint, not a civil one!!” he said. “Whomever would commit such a crime against a minor should be locked away, would you not agree? These alleged victims would deserve real justice if that were the case.”\u003c/p>\n\u003cp>“My only heartbreak is for my family,” Carter added. “My wife and I will have to sit our children down, one of whom is at the age where her friends will surely see the press and ask questions about the nature of these claims, and explain the cruelty and greed of people. I mourn yet another loss of innocence.”\u003c/p>\n\u003cp>Carter is the first high-profile co-defendant to be named in over a dozen lawsuits filed by Texas attorney Tony Buzbee, all on behalf of unnamed accusers. The amended complaint accuses Carter of filing his own lawsuit against Buzbee, which the attorney called “frivolous.” NPR has reviewed a lawsuit filed on November 18 by an anonymous celebrity accusing Buzbee of extortion and intentional infliction of emotional distress.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Aaron Hall\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966511\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png\" alt=\"A Black man onstage wearing sunglasses and a denim jacket.\" width=\"2000\" height=\"1383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-800x553.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1020x705.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-768x531.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1536x1062.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1920x1328.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Hall. \u003ccite>(Paras Griffin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer is named in Gardner’s lawsuit, alleging that he and Combs raped her and an unnamed friend in 1990. Hall could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Harve Pierre\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966512\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png\" alt=\"A bald Black man in a suit sits at a dinner table.\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1920x1269.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre. \u003ccite>(Thaddaeus McAdams/FilmMagic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, an unnamed woman filed a \u003ca href=\"https://www.documentcloud.org/documents/24193192-sean-combs-jane-doe-complaint\">lawsuit\u003c/a> accusing Combs, former Bad Boy Entertainment president Harve Pierre and a third man of trafficking and gang raping her when she was 17 years old. The suit states that the victim met Pierre at a lounge in Michigan in 2003 while she was still in high school, and that the record executive sexually assaulted her by forcing her to perform oral sex on him. Pierre allegedly called Combs, who convinced the underaged woman to board a private jet to New Jersey.\u003c/p>\n\u003cp>[aside postid='arts_13934462']After the plane ride, the suit states that the unnamed victim, Pierre and two other men were driven to Combs’ recording studio in New York, where they “plied Ms. Doe with drugs and alcohol.” The lawsuit says that Combs, Pierre and another man proceeded to “gang-rape” the teenager, and that she has limited recollection of the trip back to Michigan the following day. The lawsuit also names recording studio Daddy’s House Recordings and Bad Boy Entertainment as co-defendants. Pierre denied the allegations in a \u003ca href=\"https://www.tmz.com/2023/12/08/diddy-bad-boy-president-harve-pierre-lawsuit/\">statement\u003c/a> to TMZ.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kristina Khorram\u003c/strong>\u003c/p>\n\u003cp>Khorram is named as Combs’ chief of staff and a co-defendant in Jones’ lawsuit. Jones alleges that Khorram frequently solicited illicit drugs and sex workers for Combs and his guests, forced Jones to carry substances for Combs and ordered Jones to hire sex workers for Combs. He also accuses Khorram of “aiding and abetting” Combs’ sexual assault and helping Combs groom Jones. Though she is not listed as a co-defendant, Khorram is also named in a September 2024 sexual abuse lawsuit filed by an unnamed woman who says the Combs employee often paid for her to travel and “perform” for Combs — the complaint alleges Combs’ staffers would “send drivers to [the victim’s] home to pick her up before she agreed to travel, to the point where she did not believe she had a choice.”\u003c/p>\n\u003cp>NPR reached out to Khorram’s attorneys Oct. 10 and Oct. 22 for comment and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Cuba Gooding Jr.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966514\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png\" alt=\"A Black man sits in court wearing a suit and red scarf, looking concerned.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cuba Gooding Jr. \u003ccite>(Alec Tabak/The Daily News via AP, Pool, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor, who \u003ca href=\"https://www.npr.org/2022/04/13/1092699710/actor-cuba-gooding-jr-pleads-guilty-to-forcibly-touching\">pled guilty\u003c/a> in 2022 to forcibly touching a woman and \u003ca href=\"https://www.npr.org/2023/06/06/1180421961/cuba-gooding-jr-settles-civil-sex-abuse-case\">settled\u003c/a> a civil sexual abuse case in 2023, was named in an amendment to Rodney “Lil Rod” Jones’ original lawsuit against Combs. The producer alleges that Gooding Jr. fondled and groped him on Combs’ yacht. The actor has denied the allegations. “It’s the most ridiculous thing ever,” \u003ca href=\"https://www.youtube.com/watch?v=WuZbTB0Fh24\">he said\u003c/a> in an interview with Extra TV. “Welcome to being a celebrity. Welcome to my world.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Justin Dior Combs and Christian Combs\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png\" alt=\"Two young, casually dressed Black men stand on a red carpet, smiling.\" width=\"2000\" height=\"1765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-768x678.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1536x1356.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1920x1694.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Dior Combs (left) and Christian Combs. \u003ccite>(Aaron Davidson/WireImage | Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sean Combs’ son, Justin Dior Combs, is also named in Jones’ lawsuit against the rapper, which alleges that the producer witnessed the father and son solicit sex workers and admit underaged girls to a listening party where they laced the women’s drinks. The lawsuit also alleges that Jones witnessed Christian Combs, another son of Combs, drug and assault a woman.\u003c/p>\n\u003cp>Tyrone Blackburn, an attorney representing Jones, is also part of a separate lawsuit filed in April against Christian Combs on behalf of a plaintiff named Grace O’Marcaigh, alleging the younger Combs assaulted her on a yacht owned by Combs, who is named as co-defendant. Both Justin Dior Combs and Christian Combs have denied the allegations against them.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Jacob Arabov, aka “Jacob The Jeweler” aka Jacob Arabo \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png\" alt=\"A middle aged white man in a blue suit holds one wrist up to show his watch.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Arabov. \u003ccite>(Matthew Eisman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The founder and chairman of high-profile jewelry and watch company Jacob & Co. is named as a co-defendant in English’s suit, which alleges he was one of the “White Party” guests she was forced to have sex with. Jacob & Co did not respond to NPR’s request for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joseph “Big Joe” Sherman\u003c/strong>\u003c/p>\n\u003cp>Combs’ former bodyguard is named as a co-defendant in Graves’ lawsuit, along with Daddy’s House Recordings, Bad Boy Entertainment and more. Graves claims that Sherman actively raped her alongside Combs in 2001. The lawsuit states that when she attempted to escape the assault, Combs slammed her head into a pool table, causing her to lose consciousness. After waking up, she says Sherman continued to assault her and slapped her until she passed out a third time. Sherman has \u003ca href=\"https://www.nbcnewyork.com/investigations/former-celeb-body-guard-falsely-accused-raping-woman-with-diddy/5849264/\">denied\u003c/a> Graves’ claims, saying he no longer worked for Bad Boy in 2001 and never met the young woman.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>DeVante Swing\u003c/strong>\u003c/p>\n\u003cp>In an amended complaint filed on Oct. 8, Liza Gardner added Devante Swing of the R&B group Jodeci as a co-defendant to her lawsuit. Gardner alleges that Swing, who was an adult at the time, was her “assumed co-guardian” when he invited the underaged Gardner to New Jersey. The suit alleges that Swing “trafficked and or coerced the child to travel across state lines from North Carolina to New York and New Jersey with the hidden intention of providing the child with alcohol, and marijuana and prostituting the child to his A&R Combs.” Gardner’s friend, Monica Case, also filed a sworn declaration alleging Swing was in the room “watching whatever Puffy was doing to Liza.”\u003c/p>\n\u003cp>Swing could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shane Pearce\u003c/strong>\u003c/p>\n\u003cp>Pearce is accused of inviting Parham to his home with the intention of allowing Combs to assault her. The lawsuit also alleges Pearce is one of the men who participated in the “gang-raping” of Parham.\u003c/p>\n\u003cp>Pearce could not be reached for comment.\u003c/p>\n\u003chr>\n\u003ch2>Other Names To Know\u003c/h2>\n\u003cp>\u003cstrong>Jimmy Iovine\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png\" alt=\"A white man wearing a white baseball cap, backwards and sunglasses.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1920x1278.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Iovine. \u003ccite>(Ronald Martinez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her lawsuit, Richard alleges that she attended a party where Interscope Records co-founder Jimmy Iovine witnessed Combs punch Ventura in the stomach. The lawsuit blames Iovine — and Interscope — for moving forward with a deal with Combs and Bad Boy Entertainment after becoming aware of his violent and abusive behavior. Separately, in 2022, Iovine was accused of sexual abuse and harassment by an unnamed woman under New York’s Adult Survivors Act. The woman later dropped the case.\u003c/p>\n\u003cp>NPR reached out to Interscope and Iovine’s team but did not receive a comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kid Cudi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png\" alt=\"A Black man wearing a white t-shirt sings passionately into a microphone on stage.\" width=\"2000\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1920x1267.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kid Cudi. \u003ccite>(Theo Wargo/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Cudi and Ventura were romantically involved in 2011. In her lawsuit, Ventura alleged that when Combs found emails between the two on Ventura’s phone, he became enraged and attacked her. Ventura attempted to run away but returned due to pressure from Combs’ staff; the lawsuit alleged that Combs then hit and kicked her.\u003c/p>\n\u003cp>The lawsuit stated that in 2012, Combs told Ventura he wanted to “blow up” Kid Cudi’s car while the rapper was home. Kid Cudi corroborated to \u003cem>The New York Times\u003c/em> that his car exploded in his driveway around that time.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Caresha Brownlee, aka Yung Miami\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png\" alt=\"A glamourous Black woman performs on stage wearing a strapless leather dress.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Caresha Brownlee, aka Yung Miami. \u003ccite>(Terence Rushin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Miami, half of the rap duo City Girls, dated Combs in recent years. In August, she denied knowing anything about the accusations that have surfaced against her ex. “I can’t speak on these allegations because I wasn’t around at the time,” she said on her Revolt TV show, \u003cem>Caresha Please\u003c/em>. “I don’t know that person, and that wasn’t my experience.”\u003c/p>\n\u003cp>In September, however, Brownlee was named in a \u003ca href=\"https://www.npr.org/2024/09/27/g-s1-25157/sean-diddy-combs-jane-doe-pregnant-assault-lawsuit\">\u003cu>lawsuit\u003c/u>\u003c/a> filed against Combs by an unnamed woman. The lawsuit alleges that the plaintiff was forced to travel and “perform” for Combs many times from 2021 to 2024. Much of this travel was reportedly paid for by Combs’ staffer Kristina Khorram. The suit states that in 2022, the plaintiff was forced to take drugs and have sex with Combs. When she learned she was pregnant and told Combs, the lawsuit states that Brownlee — who is not a co-defendant on the complaint — harassed and called the plaintiff repeatedly, pressuring her to get an abortion. The stress allegedly led the woman to suffer a miscarriage.\u003c/p>\n\u003cp>NPR reached out to Brownlee’s representation Thursday morning and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tony Buzbee\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966521\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png\" alt=\"A white man in a suit.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tony Buzbee. \u003ccite>(Eric Gay/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 1, Texas attorney Tony Buzbee held a press conference announcing that his firm will be filing at least 120 individual civil lawsuits against Combs in the coming weeks. “The biggest secret in the entertainment industry that wasn’t really a secret at all has finally been revealed to the world,” Buzbee said during the presser. “The wall of silence has been broken, and victims are coming forward.”\u003c/p>\n\u003cp>Since then, Buzbee has filed more than a dozen sexual assault lawsuits against Combs, all on behalf of unnamed plaintiffs. On December 8, one such complaint was amended to name Jay-Z as a co-defendant.\u003c/p>\n\u003cp>On Oct. 14, six unnamed plaintiffs filed separate lawsuits against Combs; all are being represented by Buzbee. One of the alleged victims is a man who says Combs fondled him when he was 16 years old at a “White Party” in the Hamptons.\u003c/p>\n\u003cp>Buzbee is known for representing clients in high-profile cases, including Texas attorney general Ken Paxton during his 2023 impeachment trial, the women who sued football player \u003ca href=\"https://www.npr.org/2022/06/21/1106409107/cleveland-browns-deshaun-watson-settles-20-of-24-sexual-misconduct-lawsuits\">Deshaun Watson\u003c/a> for sexual misconduct, and the victims of the \u003ca href=\"https://www.npr.org/2021/11/11/1054765905/what-went-wrong-at-astroworld-the-deadly-dynamics-of-crowd-surge\">Astroworld\u003c/a> deadly crowd surge. During Paxton’s trial, Buzbee took his own share of the spotlight for a \u003ca href=\"https://www.houstonchronicle.com/opinion/editorials/article/ken-paxton-trial-buzbee-altuve-bucees-18355320.php\">public spat\u003c/a> with the media over how they photographed his tan in the courtroom.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In addition to practicing at the Buzbee Law Firm, his professional ventures include property development, a short-lived THC-infused \u003ca href=\"https://www.chron.com/food/article/houston-buzbee-thc-seltzer-discontinued-19462337.php\">seltzer company\u003c/a> and local politics. He self-funded \u003ca href=\"https://www.texastribune.org/2019/11/05/houston-mayor-race-sylvester-turner-tony-buzbee-runoff/\">a run for Houston mayor\u003c/a> against Democratic incumbent Sylvester Turner in 2019 and \u003ca href=\"https://www.texastribune.org/2023/11/07/tony-buzbee-houston-city-council-election-nan-huffman/\">ran for Houston City Council\u003c/a> in 2023, ultimately losing both races.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated 10:17 a.m. Oct. 14, 2024.\u003c/i>\u003c/p>\n\u003cp>Sean “Diddy” Combs remains in a Brooklyn jail while awaiting a May 5 trial on \u003ca href=\"https://www.npr.org/2024/09/16/g-s1-23363/sean-diddy-combs-faces-federal-charges-in-new-york\">federal charges of sex trafficking and racketeering\u003c/a>. The hip-hop mogul has pleaded not guilty on all charges and has been denied bail twice thus far.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before and after his arrest, Combs has also been served \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">more than two dozen civil lawsuits\u003c/a> for physical assault, rape and more. The indictment and many of the lawsuits name Combs’ numerous business ventures and claim they are complicit in financing and enabling the rapper’s abuse inside and outside of the recording studio. They also detail how Combs allegedly used his position of power in the entertainment industry to lure, coerce and silence those around him.\u003c/p>\n\u003cp>Here’s an ongoing list of notable people named in lawsuits and criminal investigations against Combs so far, excluding the accusers who have chosen not to reveal their names.\u003c/p>\n\u003chr>\n\u003ch2>The Accusers\u003c/h2>\n\u003cp>\u003cstrong>Casandra Ventura, aka Cassie\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer was in a personal and professional relationship with Combs for over a decade. In November 2023, Ventura filed a federal lawsuit against Combs alleging years of physical, sexual and emotional abuse. The lawsuit also named Bad Boy Entertainment, Bad Boy Records, Epic Records and Combs Enterprises. A day after the filing, the two parties settled the trafficking, rape and physical assault case out of court — but Ventura’s willingness to come forward opened the floodgates for nearly a dozen other lawsuits against Combs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair reportedly met in 2005, when Ventura was 19 and Combs was 37. The following year, Ventura signed a deal with Bad Boy Entertainment and released her self-titled debut album. Ventura’s lawsuit alleged this was the beginning of Combs’ coercion and abuse, which she said completely took over her life and included forcing her to take illicit substances, forcing her to participate in sex with male sex workers while Combs filmed her — encounters Combs referred to as “freakoffs” — and frequent beatings. The lawsuit stated that the beatings were often witnessed by Combs’ staff, employees of Bad Boy Entertainment and Combs’ affiliated businesses.\u003c/p>\n\u003cp>Earlier this year, CNN published \u003ca href=\"https://www.npr.org/2024/05/17/1252221941/sean-combs-cassie-ventura-cnn-video\">footage\u003c/a> dated to 2016 that showed Combs repeatedly hitting and kicking Ventura in the hallway of a Los Angeles hotel. Shortly after, Ventura took to Instagram to address the video and subsequent public response. “The outpouring of love has created a place for my younger self to settle and feel safe now, but this is only the beginning,” \u003ca href=\"https://www.instagram.com/p/C7T6OCKRJ-W/\">she wrote\u003c/a>. “Domestic Violence is THE issue. It broke me down to someone I never thought I would become. With a lot of hard work, I am better today, but I will always be recovering from my past.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joi Dickerson-Neal\u003c/strong>\u003c/p>\n\u003cp>Days after Ventura’s lawsuit, a woman named Joi Dickerson filed a lawsuit accusing Combs of drugging, sexually harassing and abusing her and distributing “revenge porn.” The suit states that Dickerson was a psychology student at Syracuse University when she agreed to go on a date with Combs in 1991. She had appeared in one of the rapper’s music videos. After the pair had dinner, the suit alleges that Combs pressured Dickerson to keep the night going and drove them to a recording studio. There, Dickerson says she realized she had been drugged and was unable to get out of the car, since she could no longer stand or walk on her own. This is when the suit alleges that Combs took her to another location and proceeded to sexually assault her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Days later, Dickerson was told by a male friend that Combs had recorded the assault and had shown it to him and several others. The lawsuit states that the ensuing feelings of violation and humiliation derailed Dickerson’s studies and have had prolonged effects on her mental health, career and economic opportunities. Like Ventura, Dickerson filed the lawsuit under New York’s Adult Survivors Act, which provided a one-year window for victims of sexual abuse who were age 18 or older at the time of the crime to file civil action regardless of the statute of limitations of the crimes themselves.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Liza Gardner\u003c/strong>\u003c/p>\n\u003cp>Last November, Liza Gardner filed a lawsuit alleging that in 1990, she was raped by Combs and R&B singer Aaron Hall. The lawsuit says that days later, Combs assaulted and choked Gardner until she lost consciousness.\u003c/p>\n\u003cp>In an amended complaint filed Oct. 8, Gardner adds that she was 16 years old when she was invited to New Jersey from her home in North Carolina by her friends DeVante Swing and Dalvin DeGrate of the R&B group Jodeci. The lawsuit states that Jodeci’s housing, where Gardner was staying, was “subsidized” by their label, Uptown Records, a subsidiary of MCA and UMG. It goes on to allege that Gardner and her 15-year-old friend, Monica Case, met Combs and Hall at an MCA Records event in New York, where they were reportedly supplied with alcohol. Combs and Hall allegedly provided the minors with more drinks and with marijuana later that night.\u003c/p>\n\u003cp>The lawsuit states that Gardner and her friends were later taken back to Hall’s apartment in New Jersey, where Combs raped Gardner. The suit states that unbeknownst to Gardner at the time, Devante Swing was in the room at the time and did nothing to stop Combs. Swing was added as a co-defendant in the new complaint for “aiding and abetting” the sexual assault.\u003c/p>\n\u003cp>The lawsuit also names UMG Recordings, Universal Music Group and more.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Rodney “Lil Rod” Jones\u003c/strong>\u003c/p>\n\u003cp>Producer Rodney “Lil Rod” Jones worked with Combs on his 2023 release, \u003cem>The Love Album: Off the Grid\u003c/em>. In February, Jones filed a lawsuit alleging that during the making of the album — from 2022 to 2023 — he lived with Combs, who he says repeatedly groped him, forced him to solicit sex workers, take illegal drugs, and more. The suit states that Combs would often walk around naked in front of Jones, and that the music mogul attempted to groom the producer into engaging in sex with other men in the music industry, allegedly promising Jones a Grammy if he complied. Jones also alleges that a cousin of rapper Yung Miami, who was dating Combs at the time, sexually assaulted him in Combs’ home in 2022 in front of Combs and his staff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jones’ lawsuit also names Combs’ son, Justin Dior Combs, Love Records, Combs Global Enterprises and Combs’ chief of staff, Kristina Khorram, as co-defendants. In addition to the allegations of abuse, the suit describes a shooting at a recording studio involving Combs, his son Justin Dior Combs and an unnamed victim. The suit also claims that Combs did not properly compensate Jones for his work on \u003cem>The Love Album.\u003c/em>\u003c/p>\n\u003cp>The lawsuit originally included Universal Music Group, Motown Records, former Motown CEO Ethiopia Habtemariam and UMG chairman and CEO Lucian Grainge as co-defendants. Lawyers for Grainge and UMG denied their involvement in the allegations, eventually leading Jones’ lawyer to drop Grainge and the labels from the charges.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Crystal McKinney\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png\" alt=\"A beautiful blond woman wearing a coat with a fur collar.\" width=\"2000\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1920x1273.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crystal McKinney. \u003ccite>(Arnaldo Magnani/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May, Crystal McKinney filed a lawsuit against Combs, Bad Boy Entertainment, Universal Music Group (UMG) and Combs’ clothing company, Sean John Clothing. The charges against UMG Recordings were later dismissed, and Daddy’s House Recordings was added as a co-defendant.\u003c/p>\n\u003cp>The suit states that in 2003, McKinney was 22 years old and working as a model when an unnamed designer introduced her to Combs at a Sean John fashion show in New York City. Combs allegedly expressed interest in getting to know McKinney better and helping her modeling career grow.\u003c/p>\n\u003cp>Later that night, he invited her to a recording studio, where McKinney says Combs and several other men were smoking marijuana and drinking. She took a hit of a joint, which according to the lawsuit, she believes was laced with another substance. The lawsuit states that Combs pressured McKinney to continue drinking and smoking, and as she became more intoxicated, she was led to a bathroom by Combs, who forced her to perform oral sex on him. Afterward, McKinney lost consciousness and awoke in a taxi en route to the designer’s apartment. The lawsuit states that following the assault, McKinney became severely depressed. According to the lawsuit, she believes Combs “blackballed” her in the industry, which led to the downfall of her modeling career, and has had long-lasting effects on her mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>April Lampros\u003c/strong>\u003c/p>\n\u003cp>In May, April Lampros filed a lawsuit naming Combs, Bad Boy Entertainment and Arista Records, a subsidiary of Sony Music. Lampros met Combs in 1994 while studying at the Fashion Institute of Technology in New York City. She says Combs often invited her to the Bad Boy studio, promised to mentor and help her advance her career and began “love-bombing” her. They started dating and Lampros would often travel to see Combs, though he asked that their relationship be kept private.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the suit, Lampros accuses Combs of sexually assaulting her on four separate occasions and repeatedly threatening to harm her, both physically and professionally. In one such instance, Combs allegedly forced Lampros and his then-girlfriend Kim Porter to take ecstasy, forced them to engage in sex while he watched and then raped Lampros. Though she tried to distance herself from Combs as the relationship turned abusive, Lampros says Combs continually contacted her, and she feared the repercussions of rebuffing his advances. The lawsuit states that after Lampros’ relationship with Combs had ended, she was told by someone she knew that he had seen a video of her and Combs having sex, recorded without her knowledge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Derrick Lee Cardello-Smith\u003c/strong>\u003c/p>\n\u003cp>In June, a man incarcerated in Michigan filed a lawsuit against Combs alleging that the rapper drugged and sexually assaulted him in Detroit in 1997. During a hearing in September, a default judgment was granted to Cardello-Smith for $100 million after Combs and his lawyers failed to appear in court. Shortly after, the judgment was set aside on grounds that Cardello-Smith’s lawsuit, mailed to a Combs residence in Los Angeles, was not properly served. Cardello-Smith is currently serving sentences for kidnapping and criminal sexual conduct.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Adria English\u003c/strong>\u003c/p>\n\u003cp>In July, a woman named Adria English filed a lawsuit against Combs, Bad Boy Entertainment, Sean John Clothing, Combs Global Enterprises, Tamiko Thomas, Jacob Arabov aka “Jacob The Jeweler,” \u003cem>VIBE\u003c/em> magazine, Penske Media Corporation and several unnamed defendants. The suit alleges that in 2004, English was working as a dancer at a club in New York City when she and her then-boyfriend, aspiring model Anthony Gallo, were hired to work at one of Combs’ famous “White Parties” in the Hamptons.\u003c/p>\n\u003cp>English alleges that while working at the party, she was forced to drink alcohol, which she believes was laced with ecstasy, and forced to consume narcotics. The suit alleges that Combs and a Bad Boy Entertainment employee continued to hire her to work at “White Parties” in New York and in Miami. According to the lawsuit, around the third event, English alleges that she was asked to swap the usual white attire for a black mini-dress and forced to begin having intercourse with guests. She believes the black dress was meant to signal to guests that she was a “sex trafficked sex worker.”\u003c/p>\n\u003cp>The lawsuit names Jacob Arabov aka “Jacob The Jeweler” as one such guest she was coerced into having intercourse with, along with other unnamed defendants. English believes there are secret recordings of those defendants sexually assaulting her in Combs’ homes while she was unconscious.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Dawn Richard\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966509\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png\" alt=\"A Black woman wearng a gold jacket talks into a microphone.\" width=\"2000\" height=\"1325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1920x1272.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Josh Brasted/Getty Images for ESSENCE/Getty Images North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, singer Dawn Richard filed a \u003ca href=\"https://www.npr.org/2024/09/12/nx-s1-5110001/dawn-richard-diddy-danity-kane-lawsuit\">lawsuit\u003c/a> against Combs for sexual assault and battery. The complaint also states that Richard witnessed Combs beat and abuse Ventura on many occasions.\u003c/p>\n\u003cp>Richard first met Combs when she auditioned for the MTV show \u003cem>Making the Band\u003c/em> in 2004 and was selected to be a member of the group Danity Kane under Combs’ mentorship. The lawsuit alleges that Richard and her bandmates were subjected to inhumane working conditions during their time on the show and in the musical group, sometimes being forced to rehearse for up to 48 hours without food or breaks and often being berated by Combs. The complaint states that the abusive behavior continued throughout Richard’s professional relationship with Combs, and that he instilled a culture of fear in the women he worked with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After Danity Kane disbanded in 2009, Richard continued to work with Combs in the trio Diddy — Dirty Money, along with singer Kalenna Harper — who allegedly also witnessed much of Combs’ abusive behavior and was subject to his numerous threats. The lawsuit alleges Combs would force Richard to take meetings while he was in his underwear, and he would barge into her dressing room unannounced and would grope her breasts and buttocks during stylist fittings.\u003c/p>\n\u003cp>In one instance in 2010, the lawsuit states that Combs berated Richard and Harper in the lobby of SIR Studios and attempted to punch Richard when she asked him to stop calling them “bitches” in front of people. Richard alleges the women were then ushered into a company car and that Combs and Harve Pierre falsely imprisoned them in the vehicle for over two hours.\u003c/p>\n\u003cp>In addition to the allegations of abuse, Richard’s lawsuit demands unpaid salaries, royalties and wages for Richard’s work as part of Danity Kane and Diddy — Dirty Money. The complaint also names Harve Pierre, Remote Productions, Bad Boy Entertainment, Daddy’s House Recording Studio and a number of other music, publishing and finance corporations associated with Combs for enabling his violence.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Thalia Graves\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966510\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png\" alt=\"A light skinned Black woman sits on a white armchair wearing a white top.\" width=\"2000\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1020x692.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-768x521.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1536x1041.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1920x1302.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thalia Graves. \u003ccite>(Rodin Eckenroth/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, a woman named Thalia Graves filed a \u003ca href=\"https://www.npr.org/2024/09/24/g-s1-24401/sean-diddy-combs-graves-rape-lawsuit\">lawsuit\u003c/a> accusing Combs and his bodyguard Joseph Sherman of raping her, recording the assault without her knowledge and distributing the video as pornography.\u003c/p>\n\u003cp>Graves alleges that the assault took place in 2001, when she was 25 years old and dating an unnamed record producer who worked with Combs. She says Combs and Sherman took advantage of her relationship with their colleague to lure her to a recording studio alone, where they gave her a drink she believes was laced with some kind of drug. The lawsuit says Graves lost consciousness and awoke to find herself bound and restrained; Combs and Sherman then proceeded to take turns raping her.\u003c/p>\n\u003cp>Graves says she did not report the alleged crime out of fear of Combs’ retaliation, and that her boyfriend at the time discouraged her from doing so because it might hurt his career. In November 2023, Graves alleges she learned the rape had been recorded by Sherman and Combs, who showed it to others with the purpose of humiliating Graves and her then-boyfriend. The lawsuit details how the crime and the knowledge of its recording has had dire, long-lasting consequences on Graves’ mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Ashley Parham\u003c/strong>\u003c/p>\n\u003cp>On Oct. 15, a woman named Ashley Parham filed a lawsuit against Combs in California involving sexual assault, battery, rape, sexual abuse, false imprisonment and kidnapping. Parham alleges that in 2018, she met a man named Shane Pearce who was associated with Combs. Parham says Pearce called Combs on FaceTime in front of her, but she made remarks about being unimpressed because “she believed Defendant Diddy had something to do with the murder of Tupac Shakur.” Combs allegedly became upset by Parham’s statements during the call.\u003c/p>\n\u003cp>The complaint says that some time later, Pearce invited Parham over to his home. While she was there, Combs allegedly arrived with Kristina Khorram and several unnamed others. The lawsuit states that Combs was angry at Parham for how she had treated him over the video call. Combs allegedly threatened to physically harm Parham with a knife, while Khorram allegedly said they could “sell” the plaintiff for sex. The lawsuit states that Pearce and Combs then removed Parham’s clothing and Combs squirted Parham with what she believes was an oil or lubricant. According to the lawsuit, Khorram was instructed by Diddy to insert a syringe into Parham’s vagina. The lawsuit goes on to state that Combs, Pearce and two unnamed defendants violently raped Parham and that Combs forced an unknown pill down the woman’s throat.\u003c/p>\n\u003cp>Kristina Khorram, Shane Pearce and several unnamed men and women are listed as co-defendants in the lawsuit.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Bryana “Bana” Bongolan\u003c/strong>\u003c/p>\n\u003cp>On Nov. 27, fashion designer Bryana “Bana” Bongolan filed a lawsuit against Combs in California that alleges the mogul groped her breasts, dangled her over the balcony of a 17th floor apartment and frequently threatened and intimidated her throughout their working relationship.\u003c/p>\n\u003cp>The lawsuit states that Bongolan worked with Cassie Ventura at Diamond Supply Co. in 2014, which led the two women to develop a friendship. As they got closer, Bongolan alleges that she became aware of Combs’ violent and abusive behavior towards Ventura, eventually leading to Ventura showing Bongolan bruises and a black eye she received from Combs. According to the lawsuit, Bongolan worked closely with both Ventura and Combs, designing Bad Boy jackets for the mogul, creating costumes for the Bad Boy Family Reunion Tour, starting a clothing line called “Cassie + BANA,” and designing merchandise and cover art for Ventura.\u003c/p>\n\u003cp>Throughout the time they worked together, Bongolan alleges that Combs intimidated and threatened her, including an instance in which he forcibly drugged her and another in which he said “You have no idea what I could do to you. I could kill you.” The lawsuit states that in September of 2016, Bongolan, her then-girlfriend and Ventura were at Ventura’s apartment when Combs began violently knocking on the door. After making his way in, Bongolan alleges he found her on the balcony and began groping her breasts. When she resisted, she alleges that he picked her up and held her over the ledge of the 17th floor balcony, and then slammed her into patio furniture.\u003c/p>\n\u003cp>Ventura’s attorneys declined to comment on Bongolan’s lawsuit.\u003c/p>\n\u003chr>\n\u003ch2>The Accused\u003c/h2>\n\u003cp>\u003cb>Jay-Z\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13832289\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg\" alt=\"Jay-Z, on the red carpet to promote the film The Great Gatsby in New York in 2013.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13832289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-520x292.jpg 520w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Jay-Z, on the red carpet to promote the film ‘The Great Gatsby’ in New York in 2013. \u003ccite>(Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October, an unnamed plaintiff filed a civil lawsuit against Combs alleging that he and an unnamed male celebrity assaulted her at an MTV Video Music Awards after-party in 2000, when she was only 13 years old. On December 8, the lawsuit was amended and refiled to name Jay-Z, whose real name is Shawn Carter, as the second assailant.\u003c/p>\n\u003cp>The complaint alleges that in September of 2000, the unnamed victim was attempting to gain entry to the VMAs in New York City when she approached a limousine driver who told her he worked for Combs and could take her to an after-party and did. The plaintiff alleges that later that night, when she arrived, she was asked to sign a document she now believes was a non-disclosure agreement. The complaint states that the plaintiff accepted a drink that made her woozy, leading her to retire to one of the bedrooms. She alleges that Carter, Combs and an unnamed female celebrity entered the room and that the two men raped her while the female celebrity stood by and watched.\u003c/p>\n\u003cp>In a statement emailed to NPR, Carter denied the allegations and stated that he was the target of a blackmail attempt designed to extort settlement money.\u003c/p>\n\u003cp>“These allegations are so heinous in nature that I implore you to file a criminal complaint, not a civil one!!” he said. “Whomever would commit such a crime against a minor should be locked away, would you not agree? These alleged victims would deserve real justice if that were the case.”\u003c/p>\n\u003cp>“My only heartbreak is for my family,” Carter added. “My wife and I will have to sit our children down, one of whom is at the age where her friends will surely see the press and ask questions about the nature of these claims, and explain the cruelty and greed of people. I mourn yet another loss of innocence.”\u003c/p>\n\u003cp>Carter is the first high-profile co-defendant to be named in over a dozen lawsuits filed by Texas attorney Tony Buzbee, all on behalf of unnamed accusers. The amended complaint accuses Carter of filing his own lawsuit against Buzbee, which the attorney called “frivolous.” NPR has reviewed a lawsuit filed on November 18 by an anonymous celebrity accusing Buzbee of extortion and intentional infliction of emotional distress.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Aaron Hall\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966511\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png\" alt=\"A Black man onstage wearing sunglasses and a denim jacket.\" width=\"2000\" height=\"1383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-800x553.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1020x705.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-768x531.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1536x1062.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1920x1328.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Hall. \u003ccite>(Paras Griffin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer is named in Gardner’s lawsuit, alleging that he and Combs raped her and an unnamed friend in 1990. Hall could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Harve Pierre\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966512\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png\" alt=\"A bald Black man in a suit sits at a dinner table.\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1920x1269.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre. \u003ccite>(Thaddaeus McAdams/FilmMagic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, an unnamed woman filed a \u003ca href=\"https://www.documentcloud.org/documents/24193192-sean-combs-jane-doe-complaint\">lawsuit\u003c/a> accusing Combs, former Bad Boy Entertainment president Harve Pierre and a third man of trafficking and gang raping her when she was 17 years old. The suit states that the victim met Pierre at a lounge in Michigan in 2003 while she was still in high school, and that the record executive sexually assaulted her by forcing her to perform oral sex on him. Pierre allegedly called Combs, who convinced the underaged woman to board a private jet to New Jersey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After the plane ride, the suit states that the unnamed victim, Pierre and two other men were driven to Combs’ recording studio in New York, where they “plied Ms. Doe with drugs and alcohol.” The lawsuit says that Combs, Pierre and another man proceeded to “gang-rape” the teenager, and that she has limited recollection of the trip back to Michigan the following day. The lawsuit also names recording studio Daddy’s House Recordings and Bad Boy Entertainment as co-defendants. Pierre denied the allegations in a \u003ca href=\"https://www.tmz.com/2023/12/08/diddy-bad-boy-president-harve-pierre-lawsuit/\">statement\u003c/a> to TMZ.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kristina Khorram\u003c/strong>\u003c/p>\n\u003cp>Khorram is named as Combs’ chief of staff and a co-defendant in Jones’ lawsuit. Jones alleges that Khorram frequently solicited illicit drugs and sex workers for Combs and his guests, forced Jones to carry substances for Combs and ordered Jones to hire sex workers for Combs. He also accuses Khorram of “aiding and abetting” Combs’ sexual assault and helping Combs groom Jones. Though she is not listed as a co-defendant, Khorram is also named in a September 2024 sexual abuse lawsuit filed by an unnamed woman who says the Combs employee often paid for her to travel and “perform” for Combs — the complaint alleges Combs’ staffers would “send drivers to [the victim’s] home to pick her up before she agreed to travel, to the point where she did not believe she had a choice.”\u003c/p>\n\u003cp>NPR reached out to Khorram’s attorneys Oct. 10 and Oct. 22 for comment and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Cuba Gooding Jr.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966514\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png\" alt=\"A Black man sits in court wearing a suit and red scarf, looking concerned.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cuba Gooding Jr. \u003ccite>(Alec Tabak/The Daily News via AP, Pool, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor, who \u003ca href=\"https://www.npr.org/2022/04/13/1092699710/actor-cuba-gooding-jr-pleads-guilty-to-forcibly-touching\">pled guilty\u003c/a> in 2022 to forcibly touching a woman and \u003ca href=\"https://www.npr.org/2023/06/06/1180421961/cuba-gooding-jr-settles-civil-sex-abuse-case\">settled\u003c/a> a civil sexual abuse case in 2023, was named in an amendment to Rodney “Lil Rod” Jones’ original lawsuit against Combs. The producer alleges that Gooding Jr. fondled and groped him on Combs’ yacht. The actor has denied the allegations. “It’s the most ridiculous thing ever,” \u003ca href=\"https://www.youtube.com/watch?v=WuZbTB0Fh24\">he said\u003c/a> in an interview with Extra TV. “Welcome to being a celebrity. Welcome to my world.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Justin Dior Combs and Christian Combs\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png\" alt=\"Two young, casually dressed Black men stand on a red carpet, smiling.\" width=\"2000\" height=\"1765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-768x678.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1536x1356.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1920x1694.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Dior Combs (left) and Christian Combs. \u003ccite>(Aaron Davidson/WireImage | Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sean Combs’ son, Justin Dior Combs, is also named in Jones’ lawsuit against the rapper, which alleges that the producer witnessed the father and son solicit sex workers and admit underaged girls to a listening party where they laced the women’s drinks. The lawsuit also alleges that Jones witnessed Christian Combs, another son of Combs, drug and assault a woman.\u003c/p>\n\u003cp>Tyrone Blackburn, an attorney representing Jones, is also part of a separate lawsuit filed in April against Christian Combs on behalf of a plaintiff named Grace O’Marcaigh, alleging the younger Combs assaulted her on a yacht owned by Combs, who is named as co-defendant. Both Justin Dior Combs and Christian Combs have denied the allegations against them.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Jacob Arabov, aka “Jacob The Jeweler” aka Jacob Arabo \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png\" alt=\"A middle aged white man in a blue suit holds one wrist up to show his watch.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Arabov. \u003ccite>(Matthew Eisman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The founder and chairman of high-profile jewelry and watch company Jacob & Co. is named as a co-defendant in English’s suit, which alleges he was one of the “White Party” guests she was forced to have sex with. Jacob & Co did not respond to NPR’s request for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joseph “Big Joe” Sherman\u003c/strong>\u003c/p>\n\u003cp>Combs’ former bodyguard is named as a co-defendant in Graves’ lawsuit, along with Daddy’s House Recordings, Bad Boy Entertainment and more. Graves claims that Sherman actively raped her alongside Combs in 2001. The lawsuit states that when she attempted to escape the assault, Combs slammed her head into a pool table, causing her to lose consciousness. After waking up, she says Sherman continued to assault her and slapped her until she passed out a third time. Sherman has \u003ca href=\"https://www.nbcnewyork.com/investigations/former-celeb-body-guard-falsely-accused-raping-woman-with-diddy/5849264/\">denied\u003c/a> Graves’ claims, saying he no longer worked for Bad Boy in 2001 and never met the young woman.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>DeVante Swing\u003c/strong>\u003c/p>\n\u003cp>In an amended complaint filed on Oct. 8, Liza Gardner added Devante Swing of the R&B group Jodeci as a co-defendant to her lawsuit. Gardner alleges that Swing, who was an adult at the time, was her “assumed co-guardian” when he invited the underaged Gardner to New Jersey. The suit alleges that Swing “trafficked and or coerced the child to travel across state lines from North Carolina to New York and New Jersey with the hidden intention of providing the child with alcohol, and marijuana and prostituting the child to his A&R Combs.” Gardner’s friend, Monica Case, also filed a sworn declaration alleging Swing was in the room “watching whatever Puffy was doing to Liza.”\u003c/p>\n\u003cp>Swing could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shane Pearce\u003c/strong>\u003c/p>\n\u003cp>Pearce is accused of inviting Parham to his home with the intention of allowing Combs to assault her. The lawsuit also alleges Pearce is one of the men who participated in the “gang-raping” of Parham.\u003c/p>\n\u003cp>Pearce could not be reached for comment.\u003c/p>\n\u003chr>\n\u003ch2>Other Names To Know\u003c/h2>\n\u003cp>\u003cstrong>Jimmy Iovine\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png\" alt=\"A white man wearing a white baseball cap, backwards and sunglasses.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1920x1278.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Iovine. \u003ccite>(Ronald Martinez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her lawsuit, Richard alleges that she attended a party where Interscope Records co-founder Jimmy Iovine witnessed Combs punch Ventura in the stomach. The lawsuit blames Iovine — and Interscope — for moving forward with a deal with Combs and Bad Boy Entertainment after becoming aware of his violent and abusive behavior. Separately, in 2022, Iovine was accused of sexual abuse and harassment by an unnamed woman under New York’s Adult Survivors Act. The woman later dropped the case.\u003c/p>\n\u003cp>NPR reached out to Interscope and Iovine’s team but did not receive a comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kid Cudi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png\" alt=\"A Black man wearing a white t-shirt sings passionately into a microphone on stage.\" width=\"2000\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1920x1267.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kid Cudi. \u003ccite>(Theo Wargo/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Cudi and Ventura were romantically involved in 2011. In her lawsuit, Ventura alleged that when Combs found emails between the two on Ventura’s phone, he became enraged and attacked her. Ventura attempted to run away but returned due to pressure from Combs’ staff; the lawsuit alleged that Combs then hit and kicked her.\u003c/p>\n\u003cp>The lawsuit stated that in 2012, Combs told Ventura he wanted to “blow up” Kid Cudi’s car while the rapper was home. Kid Cudi corroborated to \u003cem>The New York Times\u003c/em> that his car exploded in his driveway around that time.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Caresha Brownlee, aka Yung Miami\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png\" alt=\"A glamourous Black woman performs on stage wearing a strapless leather dress.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Caresha Brownlee, aka Yung Miami. \u003ccite>(Terence Rushin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Miami, half of the rap duo City Girls, dated Combs in recent years. In August, she denied knowing anything about the accusations that have surfaced against her ex. “I can’t speak on these allegations because I wasn’t around at the time,” she said on her Revolt TV show, \u003cem>Caresha Please\u003c/em>. “I don’t know that person, and that wasn’t my experience.”\u003c/p>\n\u003cp>In September, however, Brownlee was named in a \u003ca href=\"https://www.npr.org/2024/09/27/g-s1-25157/sean-diddy-combs-jane-doe-pregnant-assault-lawsuit\">\u003cu>lawsuit\u003c/u>\u003c/a> filed against Combs by an unnamed woman. The lawsuit alleges that the plaintiff was forced to travel and “perform” for Combs many times from 2021 to 2024. Much of this travel was reportedly paid for by Combs’ staffer Kristina Khorram. The suit states that in 2022, the plaintiff was forced to take drugs and have sex with Combs. When she learned she was pregnant and told Combs, the lawsuit states that Brownlee — who is not a co-defendant on the complaint — harassed and called the plaintiff repeatedly, pressuring her to get an abortion. The stress allegedly led the woman to suffer a miscarriage.\u003c/p>\n\u003cp>NPR reached out to Brownlee’s representation Thursday morning and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tony Buzbee\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966521\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png\" alt=\"A white man in a suit.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tony Buzbee. \u003ccite>(Eric Gay/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 1, Texas attorney Tony Buzbee held a press conference announcing that his firm will be filing at least 120 individual civil lawsuits against Combs in the coming weeks. “The biggest secret in the entertainment industry that wasn’t really a secret at all has finally been revealed to the world,” Buzbee said during the presser. “The wall of silence has been broken, and victims are coming forward.”\u003c/p>\n\u003cp>Since then, Buzbee has filed more than a dozen sexual assault lawsuits against Combs, all on behalf of unnamed plaintiffs. On December 8, one such complaint was amended to name Jay-Z as a co-defendant.\u003c/p>\n\u003cp>On Oct. 14, six unnamed plaintiffs filed separate lawsuits against Combs; all are being represented by Buzbee. One of the alleged victims is a man who says Combs fondled him when he was 16 years old at a “White Party” in the Hamptons.\u003c/p>\n\u003cp>Buzbee is known for representing clients in high-profile cases, including Texas attorney general Ken Paxton during his 2023 impeachment trial, the women who sued football player \u003ca href=\"https://www.npr.org/2022/06/21/1106409107/cleveland-browns-deshaun-watson-settles-20-of-24-sexual-misconduct-lawsuits\">Deshaun Watson\u003c/a> for sexual misconduct, and the victims of the \u003ca href=\"https://www.npr.org/2021/11/11/1054765905/what-went-wrong-at-astroworld-the-deadly-dynamics-of-crowd-surge\">Astroworld\u003c/a> deadly crowd surge. During Paxton’s trial, Buzbee took his own share of the spotlight for a \u003ca href=\"https://www.houstonchronicle.com/opinion/editorials/article/ken-paxton-trial-buzbee-altuve-bucees-18355320.php\">public spat\u003c/a> with the media over how they photographed his tan in the courtroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to practicing at the Buzbee Law Firm, his professional ventures include property development, a short-lived THC-infused \u003ca href=\"https://www.chron.com/food/article/houston-buzbee-thc-seltzer-discontinued-19462337.php\">seltzer company\u003c/a> and local politics. He self-funded \u003ca href=\"https://www.texastribune.org/2019/11/05/houston-mayor-race-sylvester-turner-tony-buzbee-runoff/\">a run for Houston mayor\u003c/a> against Democratic incumbent Sylvester Turner in 2019 and \u003ca href=\"https://www.texastribune.org/2023/11/07/tony-buzbee-houston-city-council-election-nan-huffman/\">ran for Houston City Council\u003c/a> in 2023, ultimately losing both races.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/cal-shakes\">Cal Shakes\u003c/a>, which for 50 years has presented outdoor theater and education programs in the Bay Area, will close due to financial struggles, the company announced Thursday. \u003c/p>\n\u003cp>“I write today with the heaviest of hearts to let you know that our beloved institution, Cal Shakes, has hit an insurmountable financial impasse and are faced with no alternative but to suspend operations, begin layoffs and take steps towards what will be the ultimate closure of the company,” Executive Director Clive Worsley said in \u003ca href=\"https://www.instagram.com/p/DA9k712MdJz/?hl=en&img_index=2\">a statement\u003c/a> via email and social media.\u003c/p>\n\u003cp>Worsley offered no exact date for the closure, instead stating that “more news will come in the following weeks as the process gets underway.”\u003c/p>\n\u003cfigure id=\"attachment_13835421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option.jpg\" alt=\"Emilio Delgado (Quijano/Quixote) rides past (background, L–R) Gianna DiGregorio Rivera, Juan Amador, Carlos Aguirre, and Amy Lizardo as calacas in Octavio Solis’ 'Quixote Nuevo' at California Shakespeare Theater.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13835421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Long-running ‘Sesame Street’ cast member Emilio Delgado starred in in Octavio Solis’ ‘Quixote Nuevo’ at Cal Shakes’ Bruns Amphitheater in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The long-running Bay Area institution, which stages plays at its Bruns Amphitheater in Orinda and counts film star \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> among its alumni, has struggled publicly with finances since the pandemic threw the performing arts into desperate disarray.\u003c/p>\n\u003cp>In July, Cal Shakes launched a crowdfunding campaign for its production of \u003cem>As You Like It\u003c/em>, seeking to raise $350,000 in under a week in order to fund the show. That request, which reached its goal, came after the widely reported news that \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">Zendaya had donated $100,000 to the company\u003c/a> in February. In 2023, the company exclusively presented works by outside collaborators.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Worsley, who joined Cal Shakes in 2022, has in the past cited the drying up of grants, donors and corporate sponsorships as particular challenges for the nonprofit theatre company, which has an annual operating budget of around $2.5 million.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are grateful to you for everything you have done to make Cal Shakes the venerable institution it has been for the past 50 years,” Worsley wrote. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/cal-shakes\">Cal Shakes\u003c/a>, which for 50 years has presented outdoor theater and education programs in the Bay Area, will close due to financial struggles, the company announced Thursday. \u003c/p>\n\u003cp>“I write today with the heaviest of hearts to let you know that our beloved institution, Cal Shakes, has hit an insurmountable financial impasse and are faced with no alternative but to suspend operations, begin layoffs and take steps towards what will be the ultimate closure of the company,” Executive Director Clive Worsley said in \u003ca href=\"https://www.instagram.com/p/DA9k712MdJz/?hl=en&img_index=2\">a statement\u003c/a> via email and social media.\u003c/p>\n\u003cp>Worsley offered no exact date for the closure, instead stating that “more news will come in the following weeks as the process gets underway.”\u003c/p>\n\u003cfigure id=\"attachment_13835421\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option.jpg\" alt=\"Emilio Delgado (Quijano/Quixote) rides past (background, L–R) Gianna DiGregorio Rivera, Juan Amador, Carlos Aguirre, and Amy Lizardo as calacas in Octavio Solis’ 'Quixote Nuevo' at California Shakespeare Theater.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13835421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/QTN.Delgado.MAIN_.option-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Long-running ‘Sesame Street’ cast member Emilio Delgado starred in in Octavio Solis’ ‘Quixote Nuevo’ at Cal Shakes’ Bruns Amphitheater in 2018. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The long-running Bay Area institution, which stages plays at its Bruns Amphitheater in Orinda and counts film star \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> among its alumni, has struggled publicly with finances since the pandemic threw the performing arts into desperate disarray.\u003c/p>\n\u003cp>In July, Cal Shakes launched a crowdfunding campaign for its production of \u003cem>As You Like It\u003c/em>, seeking to raise $350,000 in under a week in order to fund the show. That request, which reached its goal, came after the widely reported news that \u003ca href=\"https://www.kqed.org/arts/13952927/zendaya-cal-shakes-north-star-fund-donation\">Zendaya had donated $100,000 to the company\u003c/a> in February. In 2023, the company exclusively presented works by outside collaborators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. [aside postid='arts_13939974']\u003c/p>\n\u003cp>Now, \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">Deadline\u003c/a> reports additional details about \u003cem>I Love Boosters\u003c/em>, including the rest of what is shaping up to be a dream team of an ensemble cast: In addition to Palmer (\u003ca href=\"https://www.kqed.org/arts/13916536/jordan-peele-subverts-expectations-again-with-nope\">\u003cem>Nope\u003c/em>\u003c/a>), the film will also feature \u003cem>the \u003c/em>Demi Moore, Naomi Ackie \u003cem>(I Wanna Dance With\u003c/em> \u003cem>Somebody\u003c/em>) and previous Riley collaborator LaKeith Stanfield, whose breakout role was in Riley’s 2018 debut, the anti-capitalist masterpiece \u003cem>\u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\">Sorry to Bother You\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>An activist, MC and all around multihyphenate in addition to his burgeoning film career, Riley hasn’t been shy about weighing in on what he perceives to be a “\u003ca href=\"https://www.instagram.com/p/Cxdu9v8vb6e/?img_index=5\">fake ‘crime wave’ narrative\u003c/a>” in Oakland — largely centered on a rise in “\u003ca href=\"https://www.kqed.org/news/tag/bipping\">bipping\u003c/a>” and non-violent retail theft — that has been weaponized against Black folks and other people of color.\u003c/p>\n\u003cp>Fans of Riley’s work will have to wait until the film’s release to see what insight it offers into the politicization of those narratives, but a quick listen to this 2006 song by Riley’s band, The Coup — also called “\u003ca href=\"https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\">I Love Boosters\u003c/a>!” — can give some glimpse into his sensibility:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>For some of y’all folks, this stuff might faze ya / This ain’t the way the society raised ya / But most of it was made by children in Asia / The stores make money off of very low wages / The next time you see two women running out the Gap / With arms full of clothes still strapped to the rack / Once they jump in the car, hit the gas and scat / If you have to say something, just stand and clap\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cem>I Love Boosters\u003c/em> is set to begin filming later this fall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/geY-ydeYb4M?si=BqjuBdAXGv7l5YVD\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off the success of his \u003ca href=\"https://www.kqed.org/arts/13939974/boots-riley-is-directing-the-future\">world-beating\u003c/a>, \u003ca href=\"https://www.nytimes.com/2023/06/22/arts/television/im-a-virgo-review.html\">critically acclaimed\u003c/a> television series \u003cem>I’m a Virgo\u003c/em>, Oakland filmmaker Boots Riley has \u003ca href=\"https://deadline.com/2024/10/keke-palmer-demi-moore-lakeith-stanfield-naomi-ackie-boots-riley-i-love-boosters-neon-1236109749/\">announced details\u003c/a> about his newest film project, \u003cem>I Love Boosters\u003c/em>.\u003c/p>\n\u003cp>Riley first teased the movie \u003ca href=\"https://www.worldofreel.com/blog/2024/5/23/boots-rileys-i-love-boosters-set-to-star-keke-palmer\">back in May\u003c/a>, when he first gave word that Neon would produce his new film starring Keke Palmer as Corvette, the leader of a ring of female shoplifters called the Velvet Gang. In the movie, the crew of “boosters” goes up against a cutthroat fashion maven. \u003c/p>\u003c/div>",
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"content": "\u003cp>When she thinks back to her childhood in Gaza in the late ’90s, \u003ca href=\"https://www.laraaburamadan.com/about\">Lara Aburamadan\u003c/a> recalls spending her days hanging out and enjoying food with her family on sandy beaches, swimming in the Mediterranean Sea during hot, humid summers.\u003c/p>\n\u003cp>“Gaza is a small place. To drive from north to south it takes 25 minutes, and from west to east, 15 minutes,” she says. “It’s a small city, probably the size of San Francisco.”\u003c/p>\n\u003cp>Now based in Berkeley, Aburamadan is a visual artist, independent journalist and photographer. She is also the founder of \u003ca href=\"https://www.refugeeeye.org/\">Refugee Eye\u003c/a>, an art studio on Valencia Street in San Francisco.\u003c/p>\n\u003cp>When she picked up a camera 10 years ago, those beaches and daily life in Gaza City became some of her first subjects. “I wanted to show the beauty of Gaza,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13966257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg\" alt=\"A photo of a woman in a hijab at a beach with her back turned, staring out onto the sea. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Timeless Hope’ by Lara Aburamadan, taken at Deir al-Balah Refugee Camp, Gaza Strip, in 2013. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet life in a war-torn region made capturing beauty a privilege. The killings of her people back home motivated her to use her art and journalism skills for social change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Aburamadan’s photos have been published in \u003cem>Time Magazine\u003c/em>, \u003cem>San Francisco Chronicle\u003c/em>, Al Jazeera and more. She has also written for \u003cem>The Atlantic\u003c/em> and \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>In her 2012 piece for \u003cem>The New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/2012/11/17/opinion/trapped-in-gaza.html\">Trapped in Gaza\u003c/a>,” she recounts her visit to a film festival. Suddenly, an organizer interrupted the program to warn the audience of impending Israeli strikes, urging everyone to go home for safety. Aburamadan, her mother and young siblings listened to the sounds of bombs from inside their home for the next 48 hours. [aside postid='news_12007959,arts_13966184']\u003c/p>\n\u003cp>“And all the while, we hear bombs. Bombs that bear autumn’s scent and winter’s chill. Bombs that batter. Bombs that kill. I still have waking nightmares of the bombs that tore through our sky nearly four years ago, when a classmate, Maha, lost her mother in an Israeli strike,” she wrote.\u003c/p>\n\u003cp>2014 marked another deadly year in Gaza, when the Israeli military killed 2,200 Palestinians, over half of whom were civilians \u003ca href=\"https://www.ochaopt.org/content/key-figures-2014-hostilities\">according to a United Nations report\u003c/a>. Aburamadan and her then-husband live-streamed the shelling from their 11th-floor apartment, sharing with the world what mainstream media wouldn’t.\u003c/p>\n\u003cp>“The point of our work, which we posted on Twitter and Facebook, was to make it more difficult for people around the world to say, ‘I didn’t know,’” she \u003ca href=\"https://www.theatlantic.com/international/archive/2015/08/gaza-war-israel-anniversary/402364/\">wrote in \u003cem>The Atlantic\u003c/em> in 2015\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13966258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Has Wings’ by Lara Aburamadan, taken at Beach Refugee Camp, Gaza City, in 2015. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The sound of Israeli drones incessantly hovering overhead is terrifying, but the bombs — and their promise to bring either an explosion or death — are worse,” she wrote.\u003c/p>\n\u003cp>Aburamadan and her then-husband moved to the U.S. as asylum seekers when they were both 24 years old. When she first arrived in the Bay Area in 2017, she struggled to connect and feel at home.\u003c/p>\n\u003cp>“I didn’t know people, I didn’t have friends or community,” she says.\u003c/p>\n\u003cp>In time, she eventually accepted this new phase in her life. “I’m a refugee in this new place. It’s okay not to find the familiarity now,” she told herself.\u003c/p>\n\u003cfigure id=\"attachment_13966256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg\" alt=\"Freshly harvested grapes spilling out of crates.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Sheikh Ejleen Grapes’ by Lara Aburamadan, taken in Gaza City in 2016. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her current work explores the social and political narratives of refugees and marginalized communities. Through Refugee Eye, she creates a space for refugee artists and photographers from all around the world to share their stories.\u003c/p>\n\u003cp>“I wanted to embrace my perspective as a refugee,” she says.\u003c/p>\n\u003cp>Earlier this year, she curated an exhibition at Refugee Eye called \u003ca href=\"https://www.refugeeeye.org/sfgallery\">\u003cem>Gaza: Between Life and Loss\u003c/em>\u003c/a>, featuring photographs and illustrations by Palestinian artists, including work by popular Gaza street photographer Suhail Nassar and illustrator Bayan Abu Nahla.\u003c/p>\n\u003cp>“It’s been a beautiful journey to learn more about the art scene here in the Bay Area and connect with different refugee artists around the world,” Aburamadan reflects.\u003c/p>\n\u003cp>Having lived through multiple bombardments of Gaza, the war that began in October last year didn’t surprise Aburamadan. But it felt different this time. “In the first few months, my mind was constantly on Gaza,” she says.\u003c/p>\n\u003cp>“It was super stressful,” she adds. “My people are being killed everyday.”\u003c/p>\n\u003cfigure id=\"attachment_13966253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lara Aburamadan in Berkeley on Oct. 4, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing protests and Palestinian flags in the streets of the Bay Area has made her feel less alone. But despite these efforts, she is disappointed that, after a year, nothing has changed.\u003c/p>\n\u003cp>“Protests have called for a ceasefire, but the bombing continues every day,” she says. “It’s even getting worse.”\u003c/p>\n\u003cp>Through her work, Aburamadan hopes to continue showing the world a different side of Gaza. “I want people to see Gaza as a beautiful place with genuinely kind people who don’t want wars and just want peace,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want my art to reflect who we are as a collective, proving that we exist and that we’re amazing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When she thinks back to her childhood in Gaza in the late ’90s, \u003ca href=\"https://www.laraaburamadan.com/about\">Lara Aburamadan\u003c/a> recalls spending her days hanging out and enjoying food with her family on sandy beaches, swimming in the Mediterranean Sea during hot, humid summers.\u003c/p>\n\u003cp>“Gaza is a small place. To drive from north to south it takes 25 minutes, and from west to east, 15 minutes,” she says. “It’s a small city, probably the size of San Francisco.”\u003c/p>\n\u003cp>Now based in Berkeley, Aburamadan is a visual artist, independent journalist and photographer. She is also the founder of \u003ca href=\"https://www.refugeeeye.org/\">Refugee Eye\u003c/a>, an art studio on Valencia Street in San Francisco.\u003c/p>\n\u003cp>When she picked up a camera 10 years ago, those beaches and daily life in Gaza City became some of her first subjects. “I wanted to show the beauty of Gaza,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13966257\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966257\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg\" alt=\"A photo of a woman in a hijab at a beach with her back turned, staring out onto the sea. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_5906-Hi-RES-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Timeless Hope’ by Lara Aburamadan, taken at Deir al-Balah Refugee Camp, Gaza Strip, in 2013. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet life in a war-torn region made capturing beauty a privilege. The killings of her people back home motivated her to use her art and journalism skills for social change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aburamadan’s photos have been published in \u003cem>Time Magazine\u003c/em>, \u003cem>San Francisco Chronicle\u003c/em>, Al Jazeera and more. She has also written for \u003cem>The Atlantic\u003c/em> and \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>In her 2012 piece for \u003cem>The New York Times\u003c/em>, “\u003ca href=\"https://www.nytimes.com/2012/11/17/opinion/trapped-in-gaza.html\">Trapped in Gaza\u003c/a>,” she recounts her visit to a film festival. Suddenly, an organizer interrupted the program to warn the audience of impending Israeli strikes, urging everyone to go home for safety. Aburamadan, her mother and young siblings listened to the sounds of bombs from inside their home for the next 48 hours. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And all the while, we hear bombs. Bombs that bear autumn’s scent and winter’s chill. Bombs that batter. Bombs that kill. I still have waking nightmares of the bombs that tore through our sky nearly four years ago, when a classmate, Maha, lost her mother in an Israeli strike,” she wrote.\u003c/p>\n\u003cp>2014 marked another deadly year in Gaza, when the Israeli military killed 2,200 Palestinians, over half of whom were civilians \u003ca href=\"https://www.ochaopt.org/content/key-figures-2014-hostilities\">according to a United Nations report\u003c/a>. Aburamadan and her then-husband live-streamed the shelling from their 11th-floor apartment, sharing with the world what mainstream media wouldn’t.\u003c/p>\n\u003cp>“The point of our work, which we posted on Twitter and Facebook, was to make it more difficult for people around the world to say, ‘I didn’t know,’” she \u003ca href=\"https://www.theatlantic.com/international/archive/2015/08/gaza-war-israel-anniversary/402364/\">wrote in \u003cem>The Atlantic\u003c/em> in 2015\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13966258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966258\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A1358-1-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Love Has Wings’ by Lara Aburamadan, taken at Beach Refugee Camp, Gaza City, in 2015. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The sound of Israeli drones incessantly hovering overhead is terrifying, but the bombs — and their promise to bring either an explosion or death — are worse,” she wrote.\u003c/p>\n\u003cp>Aburamadan and her then-husband moved to the U.S. as asylum seekers when they were both 24 years old. When she first arrived in the Bay Area in 2017, she struggled to connect and feel at home.\u003c/p>\n\u003cp>“I didn’t know people, I didn’t have friends or community,” she says.\u003c/p>\n\u003cp>In time, she eventually accepted this new phase in her life. “I’m a refugee in this new place. It’s okay not to find the familiarity now,” she told herself.\u003c/p>\n\u003cfigure id=\"attachment_13966256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg\" alt=\"Freshly harvested grapes spilling out of crates.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/4V1A6440-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Sheikh Ejleen Grapes’ by Lara Aburamadan, taken in Gaza City in 2016. \u003ccite>(Lara Aburamadan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her current work explores the social and political narratives of refugees and marginalized communities. Through Refugee Eye, she creates a space for refugee artists and photographers from all around the world to share their stories.\u003c/p>\n\u003cp>“I wanted to embrace my perspective as a refugee,” she says.\u003c/p>\n\u003cp>Earlier this year, she curated an exhibition at Refugee Eye called \u003ca href=\"https://www.refugeeeye.org/sfgallery\">\u003cem>Gaza: Between Life and Loss\u003c/em>\u003c/a>, featuring photographs and illustrations by Palestinian artists, including work by popular Gaza street photographer Suhail Nassar and illustrator Bayan Abu Nahla.\u003c/p>\n\u003cp>“It’s been a beautiful journey to learn more about the art scene here in the Bay Area and connect with different refugee artists around the world,” Aburamadan reflects.\u003c/p>\n\u003cp>Having lived through multiple bombardments of Gaza, the war that began in October last year didn’t surprise Aburamadan. But it felt different this time. “In the first few months, my mind was constantly on Gaza,” she says.\u003c/p>\n\u003cp>“It was super stressful,” she adds. “My people are being killed everyday.”\u003c/p>\n\u003cfigure id=\"attachment_13966253\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966253\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241004-PhotographerfromGaza-JY-010_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lara Aburamadan in Berkeley on Oct. 4, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing protests and Palestinian flags in the streets of the Bay Area has made her feel less alone. But despite these efforts, she is disappointed that, after a year, nothing has changed.\u003c/p>\n\u003cp>“Protests have called for a ceasefire, but the bombing continues every day,” she says. “It’s even getting worse.”\u003c/p>\n\u003cp>Through her work, Aburamadan hopes to continue showing the world a different side of Gaza. “I want people to see Gaza as a beautiful place with genuinely kind people who don’t want wars and just want peace,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want my art to reflect who we are as a collective, proving that we exist and that we’re amazing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "San Francisco Rallies Around Queer Artist Diego Gómez After Tenderloin Attack",
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"headTitle": "San Francisco Rallies Around Queer Artist Diego Gómez After Tenderloin Attack | KQED",
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"content": "\u003cp>A fundraiser has been set up to assist beloved San Francisco artist \u003ca href=\"https://www.diegodiegodiego.com/home\">Diego Gómez\u003c/a> after he was brutally attacked in the Tenderloin on Sept. 30. Well over 300 donations have poured into the \u003ca href=\"https://www.gofundme.com/f/join-us-in-uplifting-diego-in-his-recovery\">GoFundMe page\u003c/a> since it was set up on Oct. 2, so far raising $20,000.\u003c/p>\n\u003cp>Gómez is best known for his joyful murals (including the view of the Bay that decorates \u003ca href=\"https://www.instagram.com/p/DAoe4VSyb1n/\">Oasis nightclub’s roofdeck\u003c/a>), \u003ca href=\"https://store.silversprocket.net/products/1963-is-not-an-end-but-a-beginning-by-diego-gomez?srsltid=AfmBOoqHZRHochxlt-CYSTdiUmBl5TwMvyiblLa_CwM6i69WNVRX23e_\">graphic novels\u003c/a> and drag persona, \u003ca href=\"https://www.kqed.org/arts/13835510/bearded-drag-queen-trangela-lansbury-paints-herself-into-a-comic-book-universe\">Trangela Lansbury\u003c/a> — whom KQED once described as a “bearded cosplay queen.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/7074781562595937582\" data-video-id=\"7074781562595937582\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> \u003ca title=\"sourcandy\" href=\"https://www.tiktok.com/tag/sourcandy?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandy\u003c/a> \u003ca title=\"sourcandychallange\" href=\"https://www.tiktok.com/tag/sourcandychallange?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandychallange\u003c/a> \u003ca title=\"pastel\" href=\"https://www.tiktok.com/tag/pastel?refer=embed\" target=\"_blank\" rel=\"noopener\">#pastel\u003c/a> \u003ca title=\"lisafrank\" href=\"https://www.tiktok.com/tag/lisafrank?refer=embed\" target=\"_blank\" rel=\"noopener\">#lisafrank\u003c/a> \u003ca title=\"billboard\" href=\"https://www.tiktok.com/tag/billboard?refer=embed\" target=\"_blank\" rel=\"noopener\">#billboard\u003c/a> \u003ca title=\"billboardart\" href=\"https://www.tiktok.com/tag/billboardart?refer=embed\" target=\"_blank\" rel=\"noopener\">#billboardart\u003c/a> \u003ca title=\"oasis\" href=\"https://www.tiktok.com/tag/oasis?refer=embed\" target=\"_blank\" rel=\"noopener\">#oasis\u003c/a> \u003ca title=\"sfoasis\" href=\"https://www.tiktok.com/tag/sfoasis?refer=embed\" target=\"_blank\" rel=\"noopener\">#sfoasis\u003c/a> \u003ca title=\"oasissf\" href=\"https://www.tiktok.com/tag/oasissf?refer=embed\" target=\"_blank\" rel=\"noopener\">#oasissf\u003c/a> \u003ca title=\"fantasy\" href=\"https://www.tiktok.com/tag/fantasy?refer=embed\" target=\"_blank\" rel=\"noopener\">#fantasy\u003c/a> \u003ca title=\"barbie\" href=\"https://www.tiktok.com/tag/barbie?refer=embed\" target=\"_blank\" rel=\"noopener\">#barbie\u003c/a> \u003ca title=\"barbiegirl\" href=\"https://www.tiktok.com/tag/barbiegirl?refer=embed\" target=\"_blank\" rel=\"noopener\">#barbiegirl\u003c/a> \u003ca title=\"shera\" href=\"https://www.tiktok.com/tag/shera?refer=embed\" target=\"_blank\" rel=\"noopener\">#shera\u003c/a> \u003ca title=\"jemandtheholograms\" href=\"https://www.tiktok.com/tag/jemandtheholograms?refer=embed\" target=\"_blank\" rel=\"noopener\">#jemandtheholograms\u003c/a> \u003ca title=\"rainbow\" href=\"https://www.tiktok.com/tag/rainbow?refer=embed\" target=\"_blank\" rel=\"noopener\">#rainbow\u003c/a> \u003ca title=\"unicorn\" href=\"https://www.tiktok.com/tag/unicorn?refer=embed\" target=\"_blank\" rel=\"noopener\">#unicorn\u003c/a> \u003ca title=\"pegasus\" href=\"https://www.tiktok.com/tag/pegasus?refer=embed\" target=\"_blank\" rel=\"noopener\">#pegasus\u003c/a> \u003ca title=\"darkhorse\" href=\"https://www.tiktok.com/tag/darkhorse?refer=embed\" target=\"_blank\" rel=\"noopener\">#darkhorse\u003c/a> \u003ca title=\"queerart\" href=\"https://www.tiktok.com/tag/queerart?refer=embed\" target=\"_blank\" rel=\"noopener\">#queerart\u003c/a> \u003ca title=\"blackpink\" href=\"https://www.tiktok.com/tag/blackpink?refer=embed\" target=\"_blank\" rel=\"noopener\">#blackpink\u003c/a> \u003ca title=\"gaga\" href=\"https://www.tiktok.com/tag/gaga?refer=embed\" target=\"_blank\" rel=\"noopener\">#gaga\u003c/a> \u003ca title=\"ladygaga\" href=\"https://www.tiktok.com/tag/ladygaga?refer=embed\" target=\"_blank\" rel=\"noopener\">#ladygaga\u003c/a> \u003ca title=\"blackpinkinyourarea\" href=\"https://www.tiktok.com/tag/blackpinkinyourarea?refer=embed\" target=\"_blank\" rel=\"noopener\">#blackpinkinyourarea\u003c/a> @ladygaga @blackpinkofficial \u003ca title=\"psychedelic\" href=\"https://www.tiktok.com/tag/psychedelic?refer=embed\" target=\"_blank\" rel=\"noopener\">#psychedelic\u003c/a> \u003ca title=\"psychedelicart\" href=\"https://www.tiktok.com/tag/psychedelicart?refer=embed\" target=\"_blank\" rel=\"noopener\">#psychedelicart\u003c/a> \u003ca title=\"oillamp\" href=\"https://www.tiktok.com/tag/oillamp?refer=embed\" target=\"_blank\" rel=\"noopener\">#oillamp\u003c/a> \u003ca title=\"arcoiris\" href=\"https://www.tiktok.com/tag/arcoiris?refer=embed\" target=\"_blank\" rel=\"noopener\">#arcoiris\u003c/a> \u003ca title=\"🌈\" href=\"https://www.tiktok.com/tag/%F0%9F%8C%88?refer=embed\" target=\"_blank\" rel=\"noopener\">#🌈\u003c/a> \u003ca title=\"🦄\" href=\"https://www.tiktok.com/tag/%F0%9F%A6%84?refer=embed\" target=\"_blank\" rel=\"noopener\">#🦄\u003c/a> \u003ca title=\"💫\" href=\"https://www.tiktok.com/tag/%F0%9F%92%AB?refer=embed\" target=\"_blank\" rel=\"noopener\">#💫\u003c/a> \u003ca title=\"♬ Sour Candy - Lady Gaga & BLACKPINK\" href=\"https://www.tiktok.com/music/Sour-Candy-6831979598612285442?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ Sour Candy – Lady Gaga & BLACKPINK\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Gómez is also well-known in local art communities for his ability to turn George Washington, Abraham Lincoln or Andrew Jackson — as seen on the one, five and 20 dollar bills, specifically — into any public figure of his choosing with a few flicks of his paint brush.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/6912651051321625861\" data-video-id=\"6912651051321625861\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> And justice for ALL.✊🏿✊🏾✊🏽✊🏼✊🏻✊#\u003ca title=\"justiceforgeorgefloyd\" href=\"https://www.tiktok.com/tag/justiceforgeorgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">justiceforgeorgefloyd \u003c/a>#\u003ca title=\"arrestderekchauvin\" href=\"https://www.tiktok.com/tag/arrestderekchauvin?refer=embed\" target=\"_blank\" rel=\"noopener\">arrestderekchauvin \u003c/a>#\u003ca title=\"blacklivesmatter\" href=\"https://www.tiktok.com/tag/blacklivesmatter?refer=embed\" target=\"_blank\" rel=\"noopener\">blacklivesmatter \u003c/a> #\u003ca title=\"georgefloyd\" href=\"https://www.tiktok.com/tag/georgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">georgefloyd \u003c/a>#\u003ca title=\"20dollarbill\" href=\"https://www.tiktok.com/tag/20dollarbill?refer=embed\" target=\"_blank\" rel=\"noopener\">20dollarbill \u003c/a>#\u003ca title=\"timelapseportrait\" href=\"https://www.tiktok.com/tag/timelapseportrait?refer=embed\" target=\"_blank\" rel=\"noopener\">timelapseportrait\u003c/a> \u003ca title=\"♬ original sound - Designnurd\" href=\"https://www.tiktok.com/music/original-sound-6912650998720842502?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Designnurd\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Gómez’s friend Lauri Green, who set up the GoFundMe for Gómez’s birthday, explained on the page that Gómez had been treated for “multiple facial fractures” at the neurological ICU at San Francisco General Hospital.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Diego has a long road to recovery ahead of him and we are unsure when he will be able to return to work,” Green wrote. “Medical bills and living expenses in San Francisco can be overwhelming, and we want to ensure he has the support he needs to focus on healing.”\u003c/p>\n\u003cp>[aside postid='arts_13819139']A later update from Green stated that Gómez was sent home on Oct. 4 and was recuperating with family members. “Thank you all so much for your outpouring of support,” Green said. “It means so much to Diego! He is very grateful.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green’s final goal is to raise $35,000 to assist Gómez.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A fundraiser has been set up to assist beloved San Francisco artist \u003ca href=\"https://www.diegodiegodiego.com/home\">Diego Gómez\u003c/a> after he was brutally attacked in the Tenderloin on Sept. 30. Well over 300 donations have poured into the \u003ca href=\"https://www.gofundme.com/f/join-us-in-uplifting-diego-in-his-recovery\">GoFundMe page\u003c/a> since it was set up on Oct. 2, so far raising $20,000.\u003c/p>\n\u003cp>Gómez is best known for his joyful murals (including the view of the Bay that decorates \u003ca href=\"https://www.instagram.com/p/DAoe4VSyb1n/\">Oasis nightclub’s roofdeck\u003c/a>), \u003ca href=\"https://store.silversprocket.net/products/1963-is-not-an-end-but-a-beginning-by-diego-gomez?srsltid=AfmBOoqHZRHochxlt-CYSTdiUmBl5TwMvyiblLa_CwM6i69WNVRX23e_\">graphic novels\u003c/a> and drag persona, \u003ca href=\"https://www.kqed.org/arts/13835510/bearded-drag-queen-trangela-lansbury-paints-herself-into-a-comic-book-universe\">Trangela Lansbury\u003c/a> — whom KQED once described as a “bearded cosplay queen.”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/7074781562595937582\" data-video-id=\"7074781562595937582\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> \u003ca title=\"sourcandy\" href=\"https://www.tiktok.com/tag/sourcandy?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandy\u003c/a> \u003ca title=\"sourcandychallange\" href=\"https://www.tiktok.com/tag/sourcandychallange?refer=embed\" target=\"_blank\" rel=\"noopener\">#sourcandychallange\u003c/a> \u003ca title=\"pastel\" href=\"https://www.tiktok.com/tag/pastel?refer=embed\" target=\"_blank\" rel=\"noopener\">#pastel\u003c/a> \u003ca title=\"lisafrank\" href=\"https://www.tiktok.com/tag/lisafrank?refer=embed\" target=\"_blank\" rel=\"noopener\">#lisafrank\u003c/a> \u003ca title=\"billboard\" href=\"https://www.tiktok.com/tag/billboard?refer=embed\" target=\"_blank\" rel=\"noopener\">#billboard\u003c/a> \u003ca 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gómez is also well-known in local art communities for his ability to turn George Washington, Abraham Lincoln or Andrew Jackson — as seen on the one, five and 20 dollar bills, specifically — into any public figure of his choosing with a few flicks of his paint brush.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@designnurd/video/6912651051321625861\" data-video-id=\"6912651051321625861\">\n\u003csection>\u003ca title=\"@designnurd\" href=\"https://www.tiktok.com/@designnurd?refer=embed\" target=\"_blank\" rel=\"noopener\">@designnurd\u003c/a> And justice for ALL.✊🏿✊🏾✊🏽✊🏼✊🏻✊#\u003ca title=\"justiceforgeorgefloyd\" href=\"https://www.tiktok.com/tag/justiceforgeorgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">justiceforgeorgefloyd \u003c/a>#\u003ca title=\"arrestderekchauvin\" href=\"https://www.tiktok.com/tag/arrestderekchauvin?refer=embed\" target=\"_blank\" rel=\"noopener\">arrestderekchauvin \u003c/a>#\u003ca title=\"blacklivesmatter\" href=\"https://www.tiktok.com/tag/blacklivesmatter?refer=embed\" target=\"_blank\" rel=\"noopener\">blacklivesmatter \u003c/a> #\u003ca title=\"georgefloyd\" href=\"https://www.tiktok.com/tag/georgefloyd?refer=embed\" target=\"_blank\" rel=\"noopener\">georgefloyd \u003c/a>#\u003ca title=\"20dollarbill\" href=\"https://www.tiktok.com/tag/20dollarbill?refer=embed\" target=\"_blank\" rel=\"noopener\">20dollarbill \u003c/a>#\u003ca title=\"timelapseportrait\" href=\"https://www.tiktok.com/tag/timelapseportrait?refer=embed\" target=\"_blank\" rel=\"noopener\">timelapseportrait\u003c/a> \u003ca title=\"♬ original sound - Designnurd\" href=\"https://www.tiktok.com/music/original-sound-6912650998720842502?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Designnurd\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gómez’s friend Lauri Green, who set up the GoFundMe for Gómez’s birthday, explained on the page that Gómez had been treated for “multiple facial fractures” at the neurological ICU at San Francisco General Hospital.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Diego has a long road to recovery ahead of him and we are unsure when he will be able to return to work,” Green wrote. “Medical bills and living expenses in San Francisco can be overwhelming, and we want to ensure he has the support he needs to focus on healing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A later update from Green stated that Gómez was sent home on Oct. 4 and was recuperating with family members. “Thank you all so much for your outpouring of support,” Green said. “It means so much to Diego! He is very grateful.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green’s final goal is to raise $35,000 to assist Gómez.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alice Wong, SF Disability Advocate, Wins MacArthur ‘Genius Grant’",
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"content": "\u003cp>San Francisco disability justice activist and beloved author \u003ca href=\"https://www.kqed.org/news/tag/alice-wong\">Alice Wong\u003c/a> has been selected to receive a MacArthur ‘genius grant.’\u003c/p>\n\u003cp>The John D. and Catherine T. MacArthur Foundation announced its 22 selections for the 2024 class of fellows yesterday and introduced Wong via a short video posted to X.\u003c/p>\n\u003cp>https://twitter.com/macfound/status/1841152664039551115\u003c/p>\n\u003cp>Wong also \u003ca href=\"https://twitter.com/SFdirewolf/status/1841166111511101524\">announced the news on X\u003c/a>, stating: “Hard to believe but I am a 2024 @macfound Fellow! I am accepting the MacArthur Fellowship amidst the genocide happening in Gaza and indiscriminate terroristic attacks in Lebanon by the state of Israel on the 76th year of their occupation of Palestine.”\u003c/p>\n\u003cp>Recipients of the grant will each receive $800,000 over five years to dedicate to their particular disciplines. MacArthur fellows are nominated by their peers and are selected by the foundation on the basis of “exceptional creativity, as demonstrated through a track record of significant achievement, and manifest promise for important future advances.” The grant is intended to enable fellows to pursue their most innovative ideas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wong, the founding director of the \u003ca href=\"https://disabilityvisibilityproject.com/\">Disability Visibility Project\u003c/a>, was born with a progressive neuromuscular disability. She has worked tirelessly to draw attention to the hardships and discrimination faced by Americans living with disabilities. Wong has amplified the voices of disabled writers with two essay anthologies, 2020’s \u003cem>Disability Visibility\u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/news/11984990/alice-wongs-disability-intimacy-anthology-is-a-deep-dive-into-relationships-and-community\">\u003cem>Disability Intimacy\u003c/em>\u003c/a>. She also released a memoir, \u003cem>Year of the Tiger: An Activist’s Life\u003c/em>, in 2022.\u003c/p>\n\u003cp>[aside postid='news_11934545']After suffering a series of serious medical crises that year, \u003ca href=\"https://www.kqed.org/news/11934545/my-life-is-in-my-caregivers-hands-disability-advocate-alice-wongs-vision-for-a-new-approach-to-health-care\">Wong wrote for KQED\u003c/a>: “What I’ve known in my bones during my entire 48 years on this planet is that nothing is certain, and that we must build a world that acknowledges our interdependence with one another so no one ever falls through the cracks … I know we can transform the world if we have the political and collective will to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wong was the only 2024 fellow to hail from the Bay Area. Two other Californians made the list, however. Pasadena’s Joseph Parker, an evolutionary biologist working at the California Institute of Technology, and Juan Felipe Herrera, a poet, educator and writer based in Fresno.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco disability justice activist and beloved author \u003ca href=\"https://www.kqed.org/news/tag/alice-wong\">Alice Wong\u003c/a> has been selected to receive a MacArthur ‘genius grant.’\u003c/p>\n\u003cp>The John D. and Catherine T. MacArthur Foundation announced its 22 selections for the 2024 class of fellows yesterday and introduced Wong via a short video posted to X.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Wong also \u003ca href=\"https://twitter.com/SFdirewolf/status/1841166111511101524\">announced the news on X\u003c/a>, stating: “Hard to believe but I am a 2024 @macfound Fellow! I am accepting the MacArthur Fellowship amidst the genocide happening in Gaza and indiscriminate terroristic attacks in Lebanon by the state of Israel on the 76th year of their occupation of Palestine.”\u003c/p>\n\u003cp>Recipients of the grant will each receive $800,000 over five years to dedicate to their particular disciplines. MacArthur fellows are nominated by their peers and are selected by the foundation on the basis of “exceptional creativity, as demonstrated through a track record of significant achievement, and manifest promise for important future advances.” The grant is intended to enable fellows to pursue their most innovative ideas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wong, the founding director of the \u003ca href=\"https://disabilityvisibilityproject.com/\">Disability Visibility Project\u003c/a>, was born with a progressive neuromuscular disability. She has worked tirelessly to draw attention to the hardships and discrimination faced by Americans living with disabilities. Wong has amplified the voices of disabled writers with two essay anthologies, 2020’s \u003cem>Disability Visibility\u003c/em> and 2024’s \u003ca href=\"https://www.kqed.org/news/11984990/alice-wongs-disability-intimacy-anthology-is-a-deep-dive-into-relationships-and-community\">\u003cem>Disability Intimacy\u003c/em>\u003c/a>. She also released a memoir, \u003cem>Year of the Tiger: An Activist’s Life\u003c/em>, in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After suffering a series of serious medical crises that year, \u003ca href=\"https://www.kqed.org/news/11934545/my-life-is-in-my-caregivers-hands-disability-advocate-alice-wongs-vision-for-a-new-approach-to-health-care\">Wong wrote for KQED\u003c/a>: “What I’ve known in my bones during my entire 48 years on this planet is that nothing is certain, and that we must build a world that acknowledges our interdependence with one another so no one ever falls through the cracks … I know we can transform the world if we have the political and collective will to do so.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wong was the only 2024 fellow to hail from the Bay Area. Two other Californians made the list, however. Pasadena’s Joseph Parker, an evolutionary biologist working at the California Institute of Technology, and Juan Felipe Herrera, a poet, educator and writer based in Fresno.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kris Kristofferson, Country Music Outlaw and Film Star, Dies at Age 88",
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"content": "\u003cp>Kris Kristofferson, who wrote indelible songs about lovers, loners, boozers and a footloose pair of hitchhikers — and who later became a screen star, appearing in dozens of films — has died at age 88.\u003c/p>\n\u003cp>According to his representative, the singer, songwriter and actor died peacefully in his home in Maui, Hawaii, on Saturday, Sept. 28, surrounded by family. No cause of death was shared.\u003c/p>\n\u003cp>Kristofferson made his name as a songwriter in Nashville starting in the late 1960s, penning songs including “Me and Bobby McGee,” “Sunday Morning Coming Down” and “Help Me Make It Through the Night,” which other singers (Janis Joplin, Johnny Cash and Sammi Smith, respectively) took to the top of the charts.\u003c/p>\n\u003cp>His fame and sex symbol status grew through his movie roles, most notably when he co-starred with Barbra Streisand in the 1976 remake of \u003cem>A Star is Born\u003c/em>. \u003c/p>\n\u003cp>“I imagined myself into a pretty full life,” Kristofferson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5506402\">told NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a> in 1999. “I was certainly not equipped, by God, to be a football player, but I got to be one. And I got to be a Ranger, and a paratrooper, and a helicopter pilot, you know, and a boxer, and a lot of things that I don’t think I was built to do. I just imagined ’em.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kristofferson won three Grammy awards, two of them for \u003ca href=\"https://www.youtube.com/watch?v=Rq4wgvZ1vv4\">duets\u003c/a> with his then-wife \u003ca href=\"https://www.youtube.com/watch?v=DgoPagLKJtI\">Rita Coolidge\u003c/a>, to whom he was married from 1973-80. His performance in \u003cem>A Star Is Born\u003c/em> earned him a Golden Globe in 1976.\u003c/p>\n\u003cp>In 2004, Kristofferson was inducted into the Country Music Hall of Fame, and in 2014, he was honored with a Grammy Lifetime Achievement Award.\u003c/p>\n\u003cfigure id=\"attachment_13965727\" class=\"wp-caption aligncenter\" style=\"max-width: 1862px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg\" alt=\"\" width=\"1862\" height=\"2483\" class=\"size-full wp-image-13965727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg 1862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1862px) 100vw, 1862px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson attends the film premiere of “Chelsea Walls” on April 15, 2002 in Los Angeles. \u003ccite>(Frederick M. Brown/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Early on, he found his calling as a writer\u003c/h3>\n\u003cp>Kristofferson was born in Brownsville, Texas to a military family; his father was a major general in the U.S. Air Force. It was there, at age 11, that he wrote his first song, titled “\u003ca href=\"https://www.youtube.com/watch?v=M-WKI_vlSro\">I Hate Your Ugly Face\u003c/a>.” (He included that number as a bonus track on one of his last albums, \u003cem>Closer to the Bone\u003c/em>, in 2009.) As a military kid, he moved often, landing in the Bay Area at one point and graduating from San Mateo High School in 1954.\u003c/p>\n\u003cp>At \u003ca href=\"https://magazine.pomona.edu/pomoniana/2012/03/06/photo-memory-kris-kristofferson-58-and-johnny-cash-visit-campus-in-the-1970s/\">Pomona College\u003c/a> in southern California, Kristofferson majored in creative literature. His many diverse talents drew the attention of \u003cem>Sports Illustrated\u003c/em>, which \u003ca href=\"https://vault.si.com/vault/1958/03/31/kristoffer-kristofferson\">highlighted him\u003c/a> as one of its “Faces in the Crowd” in 1954. “This dashing young man,” the magazine trumpeted, not only played rugby and varsity football and was a Golden Gloves boxer; he was also sports editor of the college paper, a folk singer, an award-winning writer and an “outstanding” ROTC cadet.\u003c/p>\n\u003cp>From Pomona, Kristofferson won a prestigious \u003ca href=\"https://www.rhodeshouse.ox.ac.uk/scholars-volunteers/rhodes-scholar-database/\">Rhodes Scholarship\u003c/a> to study at Oxford University, where he dove into the works of Shakespeare and William Blake. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.npr.org/1999/09/17/1064155/kris-kristofferson\">1999 interview\u003c/a> with NPR’s \u003cem>Morning Edition\u003c/em>, he explained that Blake “was a wonderful example for somebody who wanted to be an artist, because he believed if you were cut out to be one, it was your moral responsibility to be one, or you’d be haunted throughout your life and after death — ’til eternity!”\u003c/p>\n\u003cp>Perhaps inspired by Blake’s admonition, Kristofferson harbored dreams of writing the Great American Novel. Instead, after Oxford he followed his father into the military, joining the U.S. Army, where he became a helicopter pilot and attained the rank of Captain. Assigned to teach literature at West Point, Kristofferson decided to ditch the Army, and he moved to Nashville to pursue his dream of songwriting. \u003c/p>\n\u003cp>For that choice, he was disowned by his parents. “They thought that somewhere between Oxford and the Army I had gone crazy,” Kristofferson \u003ca href=\"https://media.npr.org/assets/pdf/2021/10/pomona.pdf\">told Pomona College Magazine\u003c/a> in 2004. “My mother said nobody over 14 listens to that kind of stuff anyway…. But I was more and more determined to go that way. And being virtually disowned was kind of liberating for me, because I had nothing left to lose.”\u003c/p>\n\u003cfigure id=\"attachment_10642751\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg\" alt=\"\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson performs as part of a tribute to Joni Mitchell at the SFJAZZ Center on May 8, 2015 in San Francisco. \u003ccite>(File Photo/Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>From janitor to hit songwriter\u003c/h3>\n\u003cp>Arriving in Nashville in 1965, Kristofferson got a job as a janitor at Columbia Studios, sweeping floors and emptying ashtrays, while writing songs on the side. \u003c/p>\n\u003cp>He often compared the creative ferment of Nashville in the ’60s to that of Paris in the ’20s. “When I got there,” he said in the 1999 \u003cem>Fresh Air\u003c/em> interview, “it was so different from any life that I’d been in before; just hanging out with these people who stayed up for three or four days at a time, and nights, and were writing songs all the time.”\u003c/p>\n\u003cp>“I think I wrote four songs during the first week I was there,” he continued. “And it was just so exciting to me. It was like a lifeboat, you know? It was like my salvation.”\u003c/p>\n\u003cp>The story goes that Kristofferson was so desperate to get his songs into the hands of Johnny Cash that he landed a helicopter on Cash’s lawn. In the version Cash used to tell, Kristofferson emerged with a tape in one hand and a beer in the other.\u003c/p>\n\u003cp>“It’s a great story, and a story that good needs to be believed, even if it’s not true,” quips musician Rodney Crowell, who became Cash’s son-in-law when he married Rosanne Cash. “But, you know, according to John, that literally happened.” \u003c/p>\n\u003cp>Johnny Cash would turn out to be instrumental in launching Kristofferson’s career, \u003ca href=\"https://www.facebook.com/newportfolkfest/photos/tbt-in-1969-kris-kristofferson-made-his-national-debut-at-the-newport-folk-festi/10153784481136288/\">introducing him \u003c/a>at the 1969 Newport Folk Festival and \u003ca href=\"https://youtu.be/FkKNQel41pI\">inviting him\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=pWUlmBO5fr0\">perform\u003c/a> on his television variety show.\u003c/p>\n\u003cp>[aside postID='arts_13878306']\u003c/p>\n\u003ch3>His songs were like short stories\u003c/h3>\n\u003cp>Rodney Crowell was one of many young songwriters who were drawn to Nashville by the beacon of Kristofferson’s success. “Because of Kris Kristofferson, a lot of songwriters came into Nashville, came in droves. And I was part of that wave,” he tells NPR.\u003c/p>\n\u003cp>What set Kristofferson’s music apart, Crowell says, was the way he wove a story and sustained a narrative through his songs. Take “Sunday Morning Coming Down,” for example — a vivid portrait of bleak, hungover loneliness. Crowell calls the song “a beautifully-written short story.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Well I woke up Sunday morning with no way to hold my head that didn’t hurt\u003c/em>\u003cbr>\u003cem>And the beer I had for breakfast wasn’t bad, so I had one more for dessert\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then I fumbled through my closet for my clothes and found my cleanest dirty shirt \u003c/em>\u003c/p>\n\u003cp>\u003cem>And I shaved my face and combed my hair and stumbled down the stairs to meet the day\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Musician Steve Earle recalls that when he first heard “Sunday Morning Coming Down” as a teenager in Texas, it made such an impact that he rushed out to buy Kristofferson’s first two records. \u003c/p>\n\u003cp>“The imagery and the use of language is just being cranked up to a level higher than really anything that came before in country music, for sure,” Earle says.\u003c/p>\n\u003cp>Kristofferson, he says, “raised the bar single-handedly in country music lyrically to a place that writers are still aspiring to, and I still aspire to, to this day\u003cstrong>.\u003c/strong>“\u003c/p>\n\u003cfigure id=\"attachment_13965732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg\" alt=\"\" width=\"2000\" height=\"1699\" class=\"size-full wp-image-13965732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1536x1305.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1920x1631.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson with co-star Ellen Burstyn on the set of the 1974 film ‘Alice Doesn’t Live Here Anymore.’ \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>He was a master of seduction, in song and on screen\u003c/h3>\n\u003cp>For Nashville, Kristofferson’s 1970 song of naked, unapologetic desire, “Help Me Make It Through the Night,” was nothing short of revolutionary. “It was earth-shaking, and a paradigm shift,” Crowell says. “It is literally a form of seduction. It’s silver-tongue seduction.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Take the ribbon from your hair\u003c/em>\u003cbr>\u003cem>Shake it loose and let it fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Layin’ soft upon my skin \u003c/em>\u003c/p>\n\u003cp>\u003cem>Like the shadows on the wall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Come and lay down by my side\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Til the early morning light\u003c/em>\u003c/p>\n\u003cp>\u003cem>All I’m takin’ is your time\u003c/em>\u003c/p>\n\u003cp>\u003cem>Help me make it through the night\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>In person and on the screen, Kristofferson was magnetic: movie-star gorgeous, with a roguish grin and electric blue eyes.\u003c/p>\n\u003cp>“Women loved him, you know? I mean, absolutely fell over,” Crowell says. “He was a sex symbol and a rock star.”\u003c/p>\n\u003cp>For a young, eager musician like Crowell, Kristofferson offered an intoxicating role model. \u003c/p>\n\u003cp>“It was like, ‘Hmm, I want to be like that,'” Crowell says. “I was like, ‘How do you do that? How do you have that kind of swagger?'” \u003c/p>\n\u003cp>Kristofferson brought that same sensual swagger to his movie roles over his decades-long career. He starred in films including \u003cem>Pat Garrett and Billy the Kid, Alice Doesn’t Live Here Anymore\u003c/em>, \u003cem>A Star Is Born, Semi-Tough\u003c/em>, \u003cem>Heaven’s Gate\u003c/em> and \u003cem>Lone Star\u003c/em>, working with directors Sam Peckinpah, Martin Scorsese, Alan Rudolph and John Sayles, among others. \u003c/p>\n\u003cp>For a stretch in the 1980s and ’90s, Kristofferson was part of an occasional country outlaw supergroup, joining with Johnny Cash, Waylon Jennings and Willie Nelson to form the Highwaymen. Recalling that time in an \u003ca href=\"https://www.loudersound.com/features/q-a-kris-kristofferson\">interview\u003c/a> with the British magazine \u003cem>Classic Rock\u003c/em> years later, he said, “I just wish I was more aware of how lucky I was to share a stage with those people. I had no idea that two of them [Cash and Jennings] would be done so soon. Hell, I was up there and I had all my heroes with me – these are guys whose ashtrays I used to clean. I’m kinda amazed I wasn’t more amazed.” \u003c/p>\n\u003cp>In the ’80s and ’90s, Kristofferson also embraced a number of leftist political causes. He \u003ca href=\"https://www.nytimes.com/1987/02/06/us/438-protesters-are-arrested-at-nevada-nuclear-test-site.html\">protested\u003c/a> nuclear testing in Nevada, and \u003ca href=\"https://freshairarchive.org/segments/kris-kristofferson-his-trip-nicaragua-and-his-support-sandinistas\">vocally opposed \u003c/a>U.S. policy in Central America, making several trips to Nicaragua in support of the Sandinista government, and excoriating the U.S. backing of El Salvador’s military-led junta in that country’s brutal civil war. “I’m a songwriter,” he said in a 1988 \u003cem>Fresh Air\u003c/em> interview, “but I’m also concerned with my fellow human beings. And I’m real concerned with the soul of my country.” His 1990 album, \u003cem>Third World Warrior\u003c/em>, is filled with songs expressing his political views:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Broken rules and dirty warriors spreading lies and secret funds\u003c/em>\u003cbr>\u003cem>Can’t defeat the Campesino with their money and their guns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cause he’s fighting for his future and his freedom and his sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>In the third world war \u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13965733\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13965733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson in 2005 during the Iraq War, which he vehemently opposed. \u003ccite>(Mary Ellen Clark/New West Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Music connected him to memory\u003c/h3>\n\u003cp>In his later years, Kristofferson suffered from profound memory loss, but he kept performing up \u003ca href=\"https://www.youtube.com/watch?v=bIa0aFLjAjw\">until 2020\u003c/a>. Among those he shared the stage with was \u003ca href=\"https://www.youtube.com/watch?v=eMwgwamUhoI\">Margo Price\u003c/a>. “Without a doubt,” she says, “he still had all the same charisma and all the sex appeal, every time.”\u003c/p>\n\u003cp>On stage, Price says, Kristofferson could connect with his musical memories and “feel like he was himself…. There’s been times where I’ve got off stage with Kris and I’m like, ‘Great show, Kris!’ He’s like, ‘Oh, thanks. You know, I wish I could have been there!’ I mean, that was the powerful thing about seeing him perform his songs, was that he could remember songs he’d written so long ago, but yet not remember something from five minutes ago.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.npr.org/2013/02/03/170872651/kris-kristofferson-on-writing-for-and-outliving-his-idols\">interview\u003c/a> with NPR in 2013, Kristofferson reflected on his life and career. At 76, he had just released an album titled \u003cem>Feeling Mortal\u003c/em>.\u003c/p>\n\u003cp>“To my surprise,” he told Rachel Martin, “I feel nothing but gratitude for being this old, and still above ground, living with the people I love. I’ve had a life of all kinds of experiences, most of ’em good. I got eight kids and a wife that puts up with everything I do, and keeps me out of trouble.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kristofferson lived for many years on the island of Maui, in a home built high on the slope of the Haleakala volcano, with a panoramic view of the Pacific Ocean. He \u003ca href=\"https://lasvegasmagazine.com/interviews/qa/2015/oct/23/q-a-kris-kristofferson-pearl-palms/\">told an interviewer\u003c/a> in 2016, “I’ve had so much blessing, so much reward for my life that I want to stay right where I am, which is on an island with no neighbors and 180 degrees of empty horizon. It’s a beautiful view.”\u003c/p>\n\n",
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"excerpt": "The musician, actor and activist behind songs like “Me and Bobby McGee” and “Sunday Mornin’ Comin’ Down” died at his home in Maui. ",
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"title": "Kris Kristofferson, Country Music Outlaw and Film Star, Dies at Age 88 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kris Kristofferson, who wrote indelible songs about lovers, loners, boozers and a footloose pair of hitchhikers — and who later became a screen star, appearing in dozens of films — has died at age 88.\u003c/p>\n\u003cp>According to his representative, the singer, songwriter and actor died peacefully in his home in Maui, Hawaii, on Saturday, Sept. 28, surrounded by family. No cause of death was shared.\u003c/p>\n\u003cp>Kristofferson made his name as a songwriter in Nashville starting in the late 1960s, penning songs including “Me and Bobby McGee,” “Sunday Morning Coming Down” and “Help Me Make It Through the Night,” which other singers (Janis Joplin, Johnny Cash and Sammi Smith, respectively) took to the top of the charts.\u003c/p>\n\u003cp>His fame and sex symbol status grew through his movie roles, most notably when he co-starred with Barbra Streisand in the 1976 remake of \u003cem>A Star is Born\u003c/em>. \u003c/p>\n\u003cp>“I imagined myself into a pretty full life,” Kristofferson \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5506402\">told NPR’s \u003cem>Fresh Air\u003c/em>\u003c/a> in 1999. “I was certainly not equipped, by God, to be a football player, but I got to be one. And I got to be a Ranger, and a paratrooper, and a helicopter pilot, you know, and a boxer, and a lot of things that I don’t think I was built to do. I just imagined ’em.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kristofferson won three Grammy awards, two of them for \u003ca href=\"https://www.youtube.com/watch?v=Rq4wgvZ1vv4\">duets\u003c/a> with his then-wife \u003ca href=\"https://www.youtube.com/watch?v=DgoPagLKJtI\">Rita Coolidge\u003c/a>, to whom he was married from 1973-80. His performance in \u003cem>A Star Is Born\u003c/em> earned him a Golden Globe in 1976.\u003c/p>\n\u003cp>In 2004, Kristofferson was inducted into the Country Music Hall of Fame, and in 2014, he was honored with a Grammy Lifetime Achievement Award.\u003c/p>\n\u003cfigure id=\"attachment_13965727\" class=\"wp-caption aligncenter\" style=\"max-width: 1862px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg\" alt=\"\" width=\"1862\" height=\"2483\" class=\"size-full wp-image-13965727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897.jpeg 1862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/gettyimages-811897-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1862px) 100vw, 1862px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson attends the film premiere of “Chelsea Walls” on April 15, 2002 in Los Angeles. \u003ccite>(Frederick M. Brown/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Early on, he found his calling as a writer\u003c/h3>\n\u003cp>Kristofferson was born in Brownsville, Texas to a military family; his father was a major general in the U.S. Air Force. It was there, at age 11, that he wrote his first song, titled “\u003ca href=\"https://www.youtube.com/watch?v=M-WKI_vlSro\">I Hate Your Ugly Face\u003c/a>.” (He included that number as a bonus track on one of his last albums, \u003cem>Closer to the Bone\u003c/em>, in 2009.) As a military kid, he moved often, landing in the Bay Area at one point and graduating from San Mateo High School in 1954.\u003c/p>\n\u003cp>At \u003ca href=\"https://magazine.pomona.edu/pomoniana/2012/03/06/photo-memory-kris-kristofferson-58-and-johnny-cash-visit-campus-in-the-1970s/\">Pomona College\u003c/a> in southern California, Kristofferson majored in creative literature. His many diverse talents drew the attention of \u003cem>Sports Illustrated\u003c/em>, which \u003ca href=\"https://vault.si.com/vault/1958/03/31/kristoffer-kristofferson\">highlighted him\u003c/a> as one of its “Faces in the Crowd” in 1954. “This dashing young man,” the magazine trumpeted, not only played rugby and varsity football and was a Golden Gloves boxer; he was also sports editor of the college paper, a folk singer, an award-winning writer and an “outstanding” ROTC cadet.\u003c/p>\n\u003cp>From Pomona, Kristofferson won a prestigious \u003ca href=\"https://www.rhodeshouse.ox.ac.uk/scholars-volunteers/rhodes-scholar-database/\">Rhodes Scholarship\u003c/a> to study at Oxford University, where he dove into the works of Shakespeare and William Blake. \u003c/p>\n\u003cp>In a \u003ca href=\"https://www.npr.org/1999/09/17/1064155/kris-kristofferson\">1999 interview\u003c/a> with NPR’s \u003cem>Morning Edition\u003c/em>, he explained that Blake “was a wonderful example for somebody who wanted to be an artist, because he believed if you were cut out to be one, it was your moral responsibility to be one, or you’d be haunted throughout your life and after death — ’til eternity!”\u003c/p>\n\u003cp>Perhaps inspired by Blake’s admonition, Kristofferson harbored dreams of writing the Great American Novel. Instead, after Oxford he followed his father into the military, joining the U.S. Army, where he became a helicopter pilot and attained the rank of Captain. Assigned to teach literature at West Point, Kristofferson decided to ditch the Army, and he moved to Nashville to pursue his dream of songwriting. \u003c/p>\n\u003cp>For that choice, he was disowned by his parents. “They thought that somewhere between Oxford and the Army I had gone crazy,” Kristofferson \u003ca href=\"https://media.npr.org/assets/pdf/2021/10/pomona.pdf\">told Pomona College Magazine\u003c/a> in 2004. “My mother said nobody over 14 listens to that kind of stuff anyway…. But I was more and more determined to go that way. And being virtually disowned was kind of liberating for me, because I had nothing left to lose.”\u003c/p>\n\u003cfigure id=\"attachment_10642751\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg\" alt=\"\" width=\"640\" height=\"457\" class=\"size-full wp-image-10642751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/KristoffersonSFJAZZ-400x286.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson performs as part of a tribute to Joni Mitchell at the SFJAZZ Center on May 8, 2015 in San Francisco. \u003ccite>(File Photo/Drew Altizer Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>From janitor to hit songwriter\u003c/h3>\n\u003cp>Arriving in Nashville in 1965, Kristofferson got a job as a janitor at Columbia Studios, sweeping floors and emptying ashtrays, while writing songs on the side. \u003c/p>\n\u003cp>He often compared the creative ferment of Nashville in the ’60s to that of Paris in the ’20s. “When I got there,” he said in the 1999 \u003cem>Fresh Air\u003c/em> interview, “it was so different from any life that I’d been in before; just hanging out with these people who stayed up for three or four days at a time, and nights, and were writing songs all the time.”\u003c/p>\n\u003cp>“I think I wrote four songs during the first week I was there,” he continued. “And it was just so exciting to me. It was like a lifeboat, you know? It was like my salvation.”\u003c/p>\n\u003cp>The story goes that Kristofferson was so desperate to get his songs into the hands of Johnny Cash that he landed a helicopter on Cash’s lawn. In the version Cash used to tell, Kristofferson emerged with a tape in one hand and a beer in the other.\u003c/p>\n\u003cp>“It’s a great story, and a story that good needs to be believed, even if it’s not true,” quips musician Rodney Crowell, who became Cash’s son-in-law when he married Rosanne Cash. “But, you know, according to John, that literally happened.” \u003c/p>\n\u003cp>Johnny Cash would turn out to be instrumental in launching Kristofferson’s career, \u003ca href=\"https://www.facebook.com/newportfolkfest/photos/tbt-in-1969-kris-kristofferson-made-his-national-debut-at-the-newport-folk-festi/10153784481136288/\">introducing him \u003c/a>at the 1969 Newport Folk Festival and \u003ca href=\"https://youtu.be/FkKNQel41pI\">inviting him\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=pWUlmBO5fr0\">perform\u003c/a> on his television variety show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>His songs were like short stories\u003c/h3>\n\u003cp>Rodney Crowell was one of many young songwriters who were drawn to Nashville by the beacon of Kristofferson’s success. “Because of Kris Kristofferson, a lot of songwriters came into Nashville, came in droves. And I was part of that wave,” he tells NPR.\u003c/p>\n\u003cp>What set Kristofferson’s music apart, Crowell says, was the way he wove a story and sustained a narrative through his songs. Take “Sunday Morning Coming Down,” for example — a vivid portrait of bleak, hungover loneliness. Crowell calls the song “a beautifully-written short story.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Well I woke up Sunday morning with no way to hold my head that didn’t hurt\u003c/em>\u003cbr>\u003cem>And the beer I had for breakfast wasn’t bad, so I had one more for dessert\u003c/em>\u003c/p>\n\u003cp>\u003cem>Then I fumbled through my closet for my clothes and found my cleanest dirty shirt \u003c/em>\u003c/p>\n\u003cp>\u003cem>And I shaved my face and combed my hair and stumbled down the stairs to meet the day\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>Musician Steve Earle recalls that when he first heard “Sunday Morning Coming Down” as a teenager in Texas, it made such an impact that he rushed out to buy Kristofferson’s first two records. \u003c/p>\n\u003cp>“The imagery and the use of language is just being cranked up to a level higher than really anything that came before in country music, for sure,” Earle says.\u003c/p>\n\u003cp>Kristofferson, he says, “raised the bar single-handedly in country music lyrically to a place that writers are still aspiring to, and I still aspire to, to this day\u003cstrong>.\u003c/strong>“\u003c/p>\n\u003cfigure id=\"attachment_13965732\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg\" alt=\"\" width=\"2000\" height=\"1699\" class=\"size-full wp-image-13965732\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-800x680.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1020x866.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-160x136.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-768x652.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1536x1305.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/MV5BZmE2MzdlNjItMzk5My00MDRmLWJmNjMtOTg1NTUxYTczNzNiXkEyXkFqcGc@._V1_-1920x1631.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson with co-star Ellen Burstyn on the set of the 1974 film ‘Alice Doesn’t Live Here Anymore.’ \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>He was a master of seduction, in song and on screen\u003c/h3>\n\u003cp>For Nashville, Kristofferson’s 1970 song of naked, unapologetic desire, “Help Me Make It Through the Night,” was nothing short of revolutionary. “It was earth-shaking, and a paradigm shift,” Crowell says. “It is literally a form of seduction. It’s silver-tongue seduction.”\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Take the ribbon from your hair\u003c/em>\u003cbr>\u003cem>Shake it loose and let it fall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Layin’ soft upon my skin \u003c/em>\u003c/p>\n\u003cp>\u003cem>Like the shadows on the wall\u003c/em>\u003c/p>\n\u003cp>\u003cem>Come and lay down by my side\u003c/em>\u003c/p>\n\u003cp>\u003cem>‘Til the early morning light\u003c/em>\u003c/p>\n\u003cp>\u003cem>All I’m takin’ is your time\u003c/em>\u003c/p>\n\u003cp>\u003cem>Help me make it through the night\u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>In person and on the screen, Kristofferson was magnetic: movie-star gorgeous, with a roguish grin and electric blue eyes.\u003c/p>\n\u003cp>“Women loved him, you know? I mean, absolutely fell over,” Crowell says. “He was a sex symbol and a rock star.”\u003c/p>\n\u003cp>For a young, eager musician like Crowell, Kristofferson offered an intoxicating role model. \u003c/p>\n\u003cp>“It was like, ‘Hmm, I want to be like that,'” Crowell says. “I was like, ‘How do you do that? How do you have that kind of swagger?'” \u003c/p>\n\u003cp>Kristofferson brought that same sensual swagger to his movie roles over his decades-long career. He starred in films including \u003cem>Pat Garrett and Billy the Kid, Alice Doesn’t Live Here Anymore\u003c/em>, \u003cem>A Star Is Born, Semi-Tough\u003c/em>, \u003cem>Heaven’s Gate\u003c/em> and \u003cem>Lone Star\u003c/em>, working with directors Sam Peckinpah, Martin Scorsese, Alan Rudolph and John Sayles, among others. \u003c/p>\n\u003cp>For a stretch in the 1980s and ’90s, Kristofferson was part of an occasional country outlaw supergroup, joining with Johnny Cash, Waylon Jennings and Willie Nelson to form the Highwaymen. Recalling that time in an \u003ca href=\"https://www.loudersound.com/features/q-a-kris-kristofferson\">interview\u003c/a> with the British magazine \u003cem>Classic Rock\u003c/em> years later, he said, “I just wish I was more aware of how lucky I was to share a stage with those people. I had no idea that two of them [Cash and Jennings] would be done so soon. Hell, I was up there and I had all my heroes with me – these are guys whose ashtrays I used to clean. I’m kinda amazed I wasn’t more amazed.” \u003c/p>\n\u003cp>In the ’80s and ’90s, Kristofferson also embraced a number of leftist political causes. He \u003ca href=\"https://www.nytimes.com/1987/02/06/us/438-protesters-are-arrested-at-nevada-nuclear-test-site.html\">protested\u003c/a> nuclear testing in Nevada, and \u003ca href=\"https://freshairarchive.org/segments/kris-kristofferson-his-trip-nicaragua-and-his-support-sandinistas\">vocally opposed \u003c/a>U.S. policy in Central America, making several trips to Nicaragua in support of the Sandinista government, and excoriating the U.S. backing of El Salvador’s military-led junta in that country’s brutal civil war. “I’m a songwriter,” he said in a 1988 \u003cem>Fresh Air\u003c/em> interview, “but I’m also concerned with my fellow human beings. And I’m real concerned with the soul of my country.” His 1990 album, \u003cem>Third World Warrior\u003c/em>, is filled with songs expressing his political views:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>\u003cem>Broken rules and dirty warriors spreading lies and secret funds\u003c/em>\u003cbr>\u003cem>Can’t defeat the Campesino with their money and their guns\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cause he’s fighting for his future and his freedom and his sons\u003c/em>\u003c/p>\n\u003cp>\u003cem>In the third world war \u003c/em>\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13965733\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"size-full wp-image-13965733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Kris-Kristofferson-Ocean-2-Mary-Ellen-Mark-e1727649844111-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kris Kristofferson in 2005 during the Iraq War, which he vehemently opposed. \u003ccite>(Mary Ellen Clark/New West Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Music connected him to memory\u003c/h3>\n\u003cp>In his later years, Kristofferson suffered from profound memory loss, but he kept performing up \u003ca href=\"https://www.youtube.com/watch?v=bIa0aFLjAjw\">until 2020\u003c/a>. Among those he shared the stage with was \u003ca href=\"https://www.youtube.com/watch?v=eMwgwamUhoI\">Margo Price\u003c/a>. “Without a doubt,” she says, “he still had all the same charisma and all the sex appeal, every time.”\u003c/p>\n\u003cp>On stage, Price says, Kristofferson could connect with his musical memories and “feel like he was himself…. There’s been times where I’ve got off stage with Kris and I’m like, ‘Great show, Kris!’ He’s like, ‘Oh, thanks. You know, I wish I could have been there!’ I mean, that was the powerful thing about seeing him perform his songs, was that he could remember songs he’d written so long ago, but yet not remember something from five minutes ago.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.npr.org/2013/02/03/170872651/kris-kristofferson-on-writing-for-and-outliving-his-idols\">interview\u003c/a> with NPR in 2013, Kristofferson reflected on his life and career. At 76, he had just released an album titled \u003cem>Feeling Mortal\u003c/em>.\u003c/p>\n\u003cp>“To my surprise,” he told Rachel Martin, “I feel nothing but gratitude for being this old, and still above ground, living with the people I love. I’ve had a life of all kinds of experiences, most of ’em good. I got eight kids and a wife that puts up with everything I do, and keeps me out of trouble.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kristofferson lived for many years on the island of Maui, in a home built high on the slope of the Haleakala volcano, with a panoramic view of the Pacific Ocean. He \u003ca href=\"https://lasvegasmagazine.com/interviews/qa/2015/oct/23/q-a-kris-kristofferson-pearl-palms/\">told an interviewer\u003c/a> in 2016, “I’ve had so much blessing, so much reward for my life that I want to stay right where I am, which is on an island with no neighbors and 180 degrees of empty horizon. It’s a beautiful view.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Symphony canceled its season opener of \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2024-25/salonen-verdi-requiem\">Giuseppe Verdi’s \u003cem>Requiem\u003c/em>\u003c/a> just two hours before opening night on Thursday after union members of the San Francisco Symphony Chorus announced a strike.\u003c/p>\n\u003cp>SF Symphony representatives said the three Sept. 19-21 concerts will not be rescheduled, and that ticket holders have the option to either exchange their tickets for tickets to another 2024-25 performance or a gift certificate; convert tickets into a tax-deductible donation; or receive a full refund.\u003c/p>\n\u003cp>[aside postID='arts_13964392']A picket line had formed outside of Davies Symphony hall at 6 p.m. Thursday.\u003c/p>\n\u003cp>The chorus’ 32 paid singers are represented by the American Guild of Musical Artists (AGMA), and have been in contract negotiations with Symphony leadership since May. The labor dispute hinges on proposed budget cuts to the chorus, which union representatives say is already the lowest-paid segment of the Symphony.\u003c/p>\n\u003cp>While Symphony leadership offered to maintain current chorus wages for the 2024-25 season, union representatives said they were dissatisfied with management’s proposal of a 10% pay cut for 2025-26.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13954083']“I cannot recall the last time AGMA went on strike, but management has repeatedly failed to show how targeting the Symphony’s internationally acclaimed Choristers will solve their alleged financial issues,” said AGMA President Ned Hanlon. “We urge management to immediately return to the bargaining table and work toward a real solution that honors the work of these dedicated artists and gets everyone back to creating beautiful music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Symphony leadership said they were negotiating in good faith with the chorus. “We are eager to continue working with AGMA, and we are committed to reaching an agreement as soon as possible.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A picket line had formed outside of Davies Symphony hall at 6 p.m. Thursday.\u003c/p>\n\u003cp>The chorus’ 32 paid singers are represented by the American Guild of Musical Artists (AGMA), and have been in contract negotiations with Symphony leadership since May. The labor dispute hinges on proposed budget cuts to the chorus, which union representatives say is already the lowest-paid segment of the Symphony.\u003c/p>\n\u003cp>While Symphony leadership offered to maintain current chorus wages for the 2024-25 season, union representatives said they were dissatisfied with management’s proposal of a 10% pay cut for 2025-26.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I cannot recall the last time AGMA went on strike, but management has repeatedly failed to show how targeting the Symphony’s internationally acclaimed Choristers will solve their alleged financial issues,” said AGMA President Ned Hanlon. “We urge management to immediately return to the bargaining table and work toward a real solution that honors the work of these dedicated artists and gets everyone back to creating beautiful music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a statement, Symphony leadership said they were negotiating in good faith with the chorus. “We are eager to continue working with AGMA, and we are committed to reaching an agreement as soon as possible.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Will the Candidates for Mayor Support the Arts in San Francisco?",
"publishDate": 1726777005,
"format": "standard",
"headTitle": "How Will the Candidates for Mayor Support the Arts in San Francisco? | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>On Wednesday, four San Francisco mayoral candidates appeared at an Arts Town Hall Mayoral Forum to present their proposals for supporting the city’s arts ecosystem.\u003c/p>\n\u003cp>Produced by Arts for a Better Bay Area, the forum’s panel included Mayor London Breed, Levi’s heir and nonprofit leader Daniel Lurie, President of the Board of Supervisors Aaron Peskin and Supervisor Ahsha Safaí. (Mark Farrell was noticeably absent from the forum, citing previous commitments.)\u003c/p>\n\u003cp>In the auditorium of the SFJAZZ Center, candidates took the stage one at a time, each with 15 minutes to answer the same four questions about arts priorities, funding, guaranteed income and two propositions on the November ballot.\u003c/p>\n\u003cp>Here’s where the candidates stand on each of the four arts-related issues. \u003c/p>\n\u003cfigure id=\"attachment_13965127\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000.jpg\" alt=\"Black woman in red suit gestures with both hands at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayor London Breed at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What are some of the ways you would work to help energize that total arts and culture ecosystem? What are your priorities for a thriving arts ecosystem?\u003c/b>\u003c/p>\n\u003cp>Mayor London Breed, the first to take to the stage, cited her previous experience as the former executive director of the African American Art & Culture Complex and highlighted the work she’s done so far as mayor. \u003c/p>\n\u003cp>“I created the first ever universal basic income program for artists because of the need and to uplift our artist community,” she said, “My goal is not just to recognize and build upon the work that I’ve already done, but take it to the next level.” That includes ensuring that artists are able to actually access city-built artist housing, she said. \u003c/p>\n\u003cp>Aaron Peskin warmed up the crowd a bit before answering. (“Let me start by saying the obvious. I’m not from here. I come from the East … Bay,” he said, earning a few chuckles.) Getting ahead of the question related to propositions, Peskin said he wants to ensure artists can afford to live in San Francisco by passing the “sensible alternative” to Proposition D — Proposition E. \u003c/p>\n\u003cp>“This city,” he warned, “is being pushed in the wrong direction by some very conservative forces. And it is manifesting in many ways, including but not limited to a proposition that one particular billionaire put on the ballot that would actually eliminate the Arts Commission, Proposition D, and I’m not having it.” \u003c/p>\n\u003cfigure id=\"attachment_13965109\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000.jpg\" alt=\"older white man with beard holds mic with one hand, smiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">President of the Board of Supervisors Aaron Peskin at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daniel Lurie touted his experience with the Civic Joy Fund and its Paint the City program. But what seemed to resonate more with voters in the audience was his call for more public safety. \u003c/p>\n\u003cp>“We know our performing arts are struggling down on Market Street because of public safety issues and people not wanting to come downtown,” Lurie said. “Our symphony, our opera, the big ones are struggling financially, and that’s going to hurt our small business arts organizations.” \u003c/p>\n\u003cp>Ahsha Safaí’s vision includes supporting middle and high school art programming. \u003c/p>\n\u003cp>“The way to energize that is to do more cultural celebrations, to have an artist laureate for the city,” Safaí said. “Doing everything we can to infuse that into our youth programming.”\u003c/p>\n\u003cp>\u003cb>As mayor, how will you ensure that direct funding for organizations that provide stability and access continues to grow as the hotel tax recovers? How would you address the issue of equity in the arts? \u003c/b>\u003c/p>\n\u003cp>Breed spoke again to her previous track record as mayor. \u003c/p>\n\u003cp>“I have made it a point to at least maintain our arts funding at the same levels, even in the midst of a global pandemic,” said Breed. “We’ve also opened up opportunities for the Office of Economic and Workforce Development because the arts bring in $1.5 billion to our city’s economy,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13965110\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg\" alt=\"white man in suit gestures with one hand at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayoral candidate Daniel Lurie at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lurie laid out a plan for adding more police and mental health workers to “get people off the streets” and make the city more attractive to tourists, thus increasing the hotel tax, which funds the arts. \u003c/p>\n\u003cp>“We have a perfect example with Dreamforce, that’s going to fill our bars, our restaurants,” Lurie said. “We’ve made public safety a priority this week … we need to make public safety a priority 365 days a year.” Lurie then sidelined slightly to talk about World Cup matches and NBA All-Star Games, as well as 2025’s Super Bowl LX, which will be held in Santa Clara.\u003c/p>\n\u003cp>Peskin also highlighted public safety, calling it a priority. \u003c/p>\n\u003cp>“So is the arts,” he added. “I am willing to stand up and say that we need to find new sources of revenue in order to sustain what I think is one of the basic services of San Francisco, and that is the arts.” \u003c/p>\n\u003cp>Safaí emphasized preserving the hotel tax. \u003c/p>\n\u003cp>“You want to see what a city’s priorities are, you look at the budget, you see where the funding is allocated,” Safaí said. “And as mayor, that would be a top, top priority for me with the power that’s invested in that office. And protecting the hotel tax, and ensuring that it’s not reallocated in any other way.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Given the demand, would you support \u003ca href=\"https://www.kqed.org/arts/13915178/ybca-sf-gipa-guaranteed-income-artists-phase-two\">another UBI\u003c/a> (universal basic income) program for individual artists? Would you support below-market-rate studios and work spaces for artists? What other steps would you, as mayor, take to ensure these culture bearers can not only survive, but thrive? \u003c/b>\u003c/p>\n\u003cp>[aside postID='arts_13915178,arts_13913890']Breed touted her administration’s guaranteed income program for artists. “Providing a stable source of income can help allow for financial stability for our artists in order to do what they do best: be creatives, not administrators,” she said.\u003c/p>\n\u003cp>When pushed for a yes or no answer on supporting another guaranteed income program, Breed responded, “I’m always open to the possibility.” \u003c/p>\n\u003cp>Lurie called for more live-work space, and said affordability is key. \u003c/p>\n\u003cp>“We need to make sure that we’re getting artists a living wage through the grants that we give out as a city,” said Lurie. “We need to invite our creative class back to San Francisco. They need to be able to afford to live here and work here, so more live-work spaces will be a focus of mine.”\u003c/p>\n\u003cp>The moderators pushed Lurie for a yes or no answer on supporting guaranteed income, causing a moment of tension as Lurie claimed that the guaranteed income program “got politicized.”\u003c/p>\n\u003cp>“I know we tried it,” Lurie said. “We don’t know how it turned out. It seems to be another issue of lack of accountability and oversight. So I’m happy to talk to experts on that.”\u003c/p>\n\u003cp>“Is that a no?” asked moderator Rodney Earl Jackson Jr. of the San Francisco Bay Area Theater Company. \u003c/p>\n\u003cp>“No, it was not a ‘no,’” responded Lurie. “It was, ‘happy to talk to the experts about it.’” \u003c/p>\n\u003cfigure id=\"attachment_13965111\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000.jpg\" alt=\"Black woman and Black man stand at podium with mics\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts Executive Director Maria Jenson and San Francisco Bay Area Theater Company Artistic Director Rodney Earl Jackson Jr. moderated the Arts Town Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Peskin said he was the only major candidate in the race to support expanding rent control. He did not clarify exactly where he stands on guaranteed income. \u003c/p>\n\u003cp>Safaí spoke about his experience with other forms of guaranteed income as Supervisor.\u003c/p>\n\u003cp>“During COVID, there was a lot of conversation in our city about guaranteed income,” Safaí said. “I took the initiative with my staff and others to do a food security program, to do guaranteed income. You call it something a little different,” he said, differentiating between guaranteed income and universal basic income. \u003c/p>\n\u003cp>“We got prepaid cards that can help people when they’re purchasing food,” Safaí said. “So if we need to expand, and can expand, programs like that for artists? Absolutely.” \u003c/p>\n\u003cp>\u003cb>On the November ballot there are two ballot initiatives, D and E, focused on city commissions reforms. What are your positions on the measures? \u003c/b>\u003ci>(An overview of Propositions D and E can be found \u003ca href=\"https://www.kqed.org/news/12004606/commission-reform-clash-heres-how-mayoral-candidates-want-to-rewrite-san-franciscos-charter\">here\u003c/a>.) \u003c/i>\u003c/p>\n\u003cp>“Well, to be very clear,” Breed said, “I’m not supporting either measure.” Speaking about Proposition D, which would reduce the number of commissions and does not ensure that the Arts Commission would still exist, the mayor said, “See, you don’t just throw it out and say okay, we can bring it back if we want to. You work with people. You just don’t do it behind closed doors.” \u003c/p>\n\u003cp>“It is important that people in the city understand the impact of these various boards and commissions,” Breed added. “And I’ll be honest, yeah, some of them need to go.” But ultimately, she said, “this is not the right way, and I do not support either one.” \u003c/p>\n\u003cfigure id=\"attachment_13965115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000.jpg\" alt=\"Man in suit without tie gestures with arm at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Ahsha Safaí at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lurie, during his turn, made it clear he’s a proponent of Proposition D. \u003c/p>\n\u003cp>“I think we have a broken system,” Lurie said. “I do support Prop. D, and it is something that I’m happy to work with the Arts Commission — sorry, the art and creative community on.” \u003c/p>\n\u003cp>He ended with a light jab at the mayor. “You have my commitment that arts funding will be much stronger in my watch than the current mayor’s watch,” Lurie said. \u003c/p>\n\u003cp>Peskin said he’s not a fan of Proposition D. \u003c/p>\n\u003cp>“Could we reform our commission system of government and make it better and achieve efficiencies? Absolutely,” said Peskin. “But this is not the way to go about it. Proposition D is really about cutting out participation in government, both from experts like artists, who get appointed to the Arts Commission, as well as by members of the public.”\u003c/p>\n\u003cp>Peskin went on to call Proposition D “really abhorrent,” adding that the proposition goes “against democracy.” \u003c/p>\n\u003cp>“Democracy is messy,” Peskin said. “[The] arts is messy, but it’s the best, most beautiful thing that we have. So vote no on Proposition D and vote yes on Proposition E, which is reform done right.” \u003c/p>\n\u003cfigure id=\"attachment_13965123\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000.jpg\" alt=\"wide view of darkened stage with man at podium, two moderators at separate table and projected question above\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayoral candidate Aaron Peskin on stage at SFJAZZ during the Arts Town Hall on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Breed, Safaí said he supports neither proposition. \u003c/p>\n\u003cp>“We have to have an arts commission in this city no matter what,” Supervisor Safaí said. “So regardless of what the outcome is on D or E, I am not taking a position on either one because I’m not going to step into that trap,” he said. “I’m just being honest. D and E, I think, are designed to be part of the political traps in this city.” \u003c/p>\n\u003cp>\u003cb>BONUS QUESTION: Anything else you’d like to add?\u003c/b> \u003c/p>\n\u003cp>Mayor Breed concluded by addressing the current state of the Dream Keeper Initiative, launched in 2020 to redirect funds to San Francisco’s Black communities. The program is \u003ca href=\"https://www.kqed.org/news/12004687/mayor-breed-taps-new-sf-human-rights-director-as-misspending-scrutiny-intensifies\">currently being investigated\u003c/a> following reports of potential misspending of public money.\u003c/p>\n\u003cp>Calling the initiative important to the arts community, Breed said that “this program is valuable and it has helped make a difference in home ownership, nonprofit organizations, [and] new businesses for African Americans.” \u003c/p>\n\u003cp>Addressing the crowd directly, Mayor Breed asked for time and patience. “We have to at least investigate this, make sure that we do a full and transparent investigation, and make that available to the public.” \u003c/p>\n\u003cfigure id=\"attachment_13965124\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000.jpg\" alt=\"crowd in spacious lobby area with windows on one side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Arts Town Hall mingle at SFJAZZ Center following the Sept. 18, 2024 event. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his closing statements, Lurie seemed to feel the need to play defense. \u003c/p>\n\u003cp>“I’m just telling you, they’re going to say a lot of things about me over the next six weeks,” Lurie said. “They’re coming after me. And it’s because I’m exposing this broken, corrupt city hall bureaucracy.” Lurie pledged to be the “truest version” of a public servant who would serve the people, taxpayers, artists and creators. \u003c/p>\n\u003cp>“I pledged this to a priest, I pledged to a rabbi: I am not seeking any other office after this,” Lurie said. “I’m gonna be able to make the tough decisions because I’m not looking to go to Sacramento. I’m not looking to get to D.C. I’m looking to turn around the city that we all love.” \u003c/p>\n\u003cp>Safaí used his remaining time to paint himself as a candidate with the right experience for the job who will “get away from divisive politics.” \u003c/p>\n\u003cp>“You need to be ready for this job, day one,” Safaí said. “There are people that are literally trying to buy Room 200. They’re trying to write a check to make up for their lack of experience and ensure that they can come into this job.” \u003c/p>\n\u003cp>With less than a minute of time remaining, Peskin thanked everyone for coming out and reiterated his desire to reassert San Francisco as a “refuge of otherness.” \u003c/p>\n\u003cp>“And don’t forget to vote for my kindergarten pal,” he said, referencing Kamala Harris. \u003c/p>\n\u003cp>\u003ca href=\"https://www.betterbayarea.org/\">Arts for a Better Bay Area\u003c/a> noted that in the coming days, the candidates’ full responses will be posted on their website, along with other questions for candidates not asked at the forum. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Mayoral candidates answered only four questions at the arts forum, offering their takes on funding and propositions.",
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"title": "SF Mayoral Candidates Talk Their Arts Priorities at Town Hall | KQED",
"description": "Mayoral candidates answered only four questions at the arts forum, offering their takes on funding and propositions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, four San Francisco mayoral candidates appeared at an Arts Town Hall Mayoral Forum to present their proposals for supporting the city’s arts ecosystem.\u003c/p>\n\u003cp>Produced by Arts for a Better Bay Area, the forum’s panel included Mayor London Breed, Levi’s heir and nonprofit leader Daniel Lurie, President of the Board of Supervisors Aaron Peskin and Supervisor Ahsha Safaí. (Mark Farrell was noticeably absent from the forum, citing previous commitments.)\u003c/p>\n\u003cp>In the auditorium of the SFJAZZ Center, candidates took the stage one at a time, each with 15 minutes to answer the same four questions about arts priorities, funding, guaranteed income and two propositions on the November ballot.\u003c/p>\n\u003cp>Here’s where the candidates stand on each of the four arts-related issues. \u003c/p>\n\u003cfigure id=\"attachment_13965127\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000.jpg\" alt=\"Black woman in red suit gestures with both hands at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-40_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayor London Breed at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What are some of the ways you would work to help energize that total arts and culture ecosystem? What are your priorities for a thriving arts ecosystem?\u003c/b>\u003c/p>\n\u003cp>Mayor London Breed, the first to take to the stage, cited her previous experience as the former executive director of the African American Art & Culture Complex and highlighted the work she’s done so far as mayor. \u003c/p>\n\u003cp>“I created the first ever universal basic income program for artists because of the need and to uplift our artist community,” she said, “My goal is not just to recognize and build upon the work that I’ve already done, but take it to the next level.” That includes ensuring that artists are able to actually access city-built artist housing, she said. \u003c/p>\n\u003cp>Aaron Peskin warmed up the crowd a bit before answering. (“Let me start by saying the obvious. I’m not from here. I come from the East … Bay,” he said, earning a few chuckles.) Getting ahead of the question related to propositions, Peskin said he wants to ensure artists can afford to live in San Francisco by passing the “sensible alternative” to Proposition D — Proposition E. \u003c/p>\n\u003cp>“This city,” he warned, “is being pushed in the wrong direction by some very conservative forces. And it is manifesting in many ways, including but not limited to a proposition that one particular billionaire put on the ballot that would actually eliminate the Arts Commission, Proposition D, and I’m not having it.” \u003c/p>\n\u003cfigure id=\"attachment_13965109\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000.jpg\" alt=\"older white man with beard holds mic with one hand, smiling\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-58_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">President of the Board of Supervisors Aaron Peskin at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Daniel Lurie touted his experience with the Civic Joy Fund and its Paint the City program. But what seemed to resonate more with voters in the audience was his call for more public safety. \u003c/p>\n\u003cp>“We know our performing arts are struggling down on Market Street because of public safety issues and people not wanting to come downtown,” Lurie said. “Our symphony, our opera, the big ones are struggling financially, and that’s going to hurt our small business arts organizations.” \u003c/p>\n\u003cp>Ahsha Safaí’s vision includes supporting middle and high school art programming. \u003c/p>\n\u003cp>“The way to energize that is to do more cultural celebrations, to have an artist laureate for the city,” Safaí said. “Doing everything we can to infuse that into our youth programming.”\u003c/p>\n\u003cp>\u003cb>As mayor, how will you ensure that direct funding for organizations that provide stability and access continues to grow as the hotel tax recovers? How would you address the issue of equity in the arts? \u003c/b>\u003c/p>\n\u003cp>Breed spoke again to her previous track record as mayor. \u003c/p>\n\u003cp>“I have made it a point to at least maintain our arts funding at the same levels, even in the midst of a global pandemic,” said Breed. “We’ve also opened up opportunities for the Office of Economic and Workforce Development because the arts bring in $1.5 billion to our city’s economy,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13965110\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg\" alt=\"white man in suit gestures with one hand at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-54_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayoral candidate Daniel Lurie at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lurie laid out a plan for adding more police and mental health workers to “get people off the streets” and make the city more attractive to tourists, thus increasing the hotel tax, which funds the arts. \u003c/p>\n\u003cp>“We have a perfect example with Dreamforce, that’s going to fill our bars, our restaurants,” Lurie said. “We’ve made public safety a priority this week … we need to make public safety a priority 365 days a year.” Lurie then sidelined slightly to talk about World Cup matches and NBA All-Star Games, as well as 2025’s Super Bowl LX, which will be held in Santa Clara.\u003c/p>\n\u003cp>Peskin also highlighted public safety, calling it a priority. \u003c/p>\n\u003cp>“So is the arts,” he added. “I am willing to stand up and say that we need to find new sources of revenue in order to sustain what I think is one of the basic services of San Francisco, and that is the arts.” \u003c/p>\n\u003cp>Safaí emphasized preserving the hotel tax. \u003c/p>\n\u003cp>“You want to see what a city’s priorities are, you look at the budget, you see where the funding is allocated,” Safaí said. “And as mayor, that would be a top, top priority for me with the power that’s invested in that office. And protecting the hotel tax, and ensuring that it’s not reallocated in any other way.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Given the demand, would you support \u003ca href=\"https://www.kqed.org/arts/13915178/ybca-sf-gipa-guaranteed-income-artists-phase-two\">another UBI\u003c/a> (universal basic income) program for individual artists? Would you support below-market-rate studios and work spaces for artists? What other steps would you, as mayor, take to ensure these culture bearers can not only survive, but thrive? \u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Breed touted her administration’s guaranteed income program for artists. “Providing a stable source of income can help allow for financial stability for our artists in order to do what they do best: be creatives, not administrators,” she said.\u003c/p>\n\u003cp>When pushed for a yes or no answer on supporting another guaranteed income program, Breed responded, “I’m always open to the possibility.” \u003c/p>\n\u003cp>Lurie called for more live-work space, and said affordability is key. \u003c/p>\n\u003cp>“We need to make sure that we’re getting artists a living wage through the grants that we give out as a city,” said Lurie. “We need to invite our creative class back to San Francisco. They need to be able to afford to live here and work here, so more live-work spaces will be a focus of mine.”\u003c/p>\n\u003cp>The moderators pushed Lurie for a yes or no answer on supporting guaranteed income, causing a moment of tension as Lurie claimed that the guaranteed income program “got politicized.”\u003c/p>\n\u003cp>“I know we tried it,” Lurie said. “We don’t know how it turned out. It seems to be another issue of lack of accountability and oversight. So I’m happy to talk to experts on that.”\u003c/p>\n\u003cp>“Is that a no?” asked moderator Rodney Earl Jackson Jr. of the San Francisco Bay Area Theater Company. \u003c/p>\n\u003cp>“No, it was not a ‘no,’” responded Lurie. “It was, ‘happy to talk to the experts about it.’” \u003c/p>\n\u003cfigure id=\"attachment_13965111\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000.jpg\" alt=\"Black woman and Black man stand at podium with mics\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-10_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">SOMArts Executive Director Maria Jenson and San Francisco Bay Area Theater Company Artistic Director Rodney Earl Jackson Jr. moderated the Arts Town Hall.\u003c/figcaption>\u003c/figure>\n\u003cp>Peskin said he was the only major candidate in the race to support expanding rent control. He did not clarify exactly where he stands on guaranteed income. \u003c/p>\n\u003cp>Safaí spoke about his experience with other forms of guaranteed income as Supervisor.\u003c/p>\n\u003cp>“During COVID, there was a lot of conversation in our city about guaranteed income,” Safaí said. “I took the initiative with my staff and others to do a food security program, to do guaranteed income. You call it something a little different,” he said, differentiating between guaranteed income and universal basic income. \u003c/p>\n\u003cp>“We got prepaid cards that can help people when they’re purchasing food,” Safaí said. “So if we need to expand, and can expand, programs like that for artists? Absolutely.” \u003c/p>\n\u003cp>\u003cb>On the November ballot there are two ballot initiatives, D and E, focused on city commissions reforms. What are your positions on the measures? \u003c/b>\u003ci>(An overview of Propositions D and E can be found \u003ca href=\"https://www.kqed.org/news/12004606/commission-reform-clash-heres-how-mayoral-candidates-want-to-rewrite-san-franciscos-charter\">here\u003c/a>.) \u003c/i>\u003c/p>\n\u003cp>“Well, to be very clear,” Breed said, “I’m not supporting either measure.” Speaking about Proposition D, which would reduce the number of commissions and does not ensure that the Arts Commission would still exist, the mayor said, “See, you don’t just throw it out and say okay, we can bring it back if we want to. You work with people. You just don’t do it behind closed doors.” \u003c/p>\n\u003cp>“It is important that people in the city understand the impact of these various boards and commissions,” Breed added. “And I’ll be honest, yeah, some of them need to go.” But ultimately, she said, “this is not the right way, and I do not support either one.” \u003c/p>\n\u003cfigure id=\"attachment_13965115\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000.jpg\" alt=\"Man in suit without tie gestures with arm at podium\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-76_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Supervisor Ahsha Safaí at SFJAZZ Center on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lurie, during his turn, made it clear he’s a proponent of Proposition D. \u003c/p>\n\u003cp>“I think we have a broken system,” Lurie said. “I do support Prop. D, and it is something that I’m happy to work with the Arts Commission — sorry, the art and creative community on.” \u003c/p>\n\u003cp>He ended with a light jab at the mayor. “You have my commitment that arts funding will be much stronger in my watch than the current mayor’s watch,” Lurie said. \u003c/p>\n\u003cp>Peskin said he’s not a fan of Proposition D. \u003c/p>\n\u003cp>“Could we reform our commission system of government and make it better and achieve efficiencies? Absolutely,” said Peskin. “But this is not the way to go about it. Proposition D is really about cutting out participation in government, both from experts like artists, who get appointed to the Arts Commission, as well as by members of the public.”\u003c/p>\n\u003cp>Peskin went on to call Proposition D “really abhorrent,” adding that the proposition goes “against democracy.” \u003c/p>\n\u003cp>“Democracy is messy,” Peskin said. “[The] arts is messy, but it’s the best, most beautiful thing that we have. So vote no on Proposition D and vote yes on Proposition E, which is reform done right.” \u003c/p>\n\u003cfigure id=\"attachment_13965123\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000.jpg\" alt=\"wide view of darkened stage with man at podium, two moderators at separate table and projected question above\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-64_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mayoral candidate Aaron Peskin on stage at SFJAZZ during the Arts Town Hall on Sept. 18, 2024. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like Breed, Safaí said he supports neither proposition. \u003c/p>\n\u003cp>“We have to have an arts commission in this city no matter what,” Supervisor Safaí said. “So regardless of what the outcome is on D or E, I am not taking a position on either one because I’m not going to step into that trap,” he said. “I’m just being honest. D and E, I think, are designed to be part of the political traps in this city.” \u003c/p>\n\u003cp>\u003cb>BONUS QUESTION: Anything else you’d like to add?\u003c/b> \u003c/p>\n\u003cp>Mayor Breed concluded by addressing the current state of the Dream Keeper Initiative, launched in 2020 to redirect funds to San Francisco’s Black communities. The program is \u003ca href=\"https://www.kqed.org/news/12004687/mayor-breed-taps-new-sf-human-rights-director-as-misspending-scrutiny-intensifies\">currently being investigated\u003c/a> following reports of potential misspending of public money.\u003c/p>\n\u003cp>Calling the initiative important to the arts community, Breed said that “this program is valuable and it has helped make a difference in home ownership, nonprofit organizations, [and] new businesses for African Americans.” \u003c/p>\n\u003cp>Addressing the crowd directly, Mayor Breed asked for time and patience. “We have to at least investigate this, make sure that we do a full and transparent investigation, and make that available to the public.” \u003c/p>\n\u003cfigure id=\"attachment_13965124\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000.jpg\" alt=\"crowd in spacious lobby area with windows on one side\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13965124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sf_arts_town_hall_2024_amycarrphotography-84_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Arts Town Hall mingle at SFJAZZ Center following the Sept. 18, 2024 event. \u003ccite>(Amy Carr Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his closing statements, Lurie seemed to feel the need to play defense. \u003c/p>\n\u003cp>“I’m just telling you, they’re going to say a lot of things about me over the next six weeks,” Lurie said. “They’re coming after me. And it’s because I’m exposing this broken, corrupt city hall bureaucracy.” Lurie pledged to be the “truest version” of a public servant who would serve the people, taxpayers, artists and creators. \u003c/p>\n\u003cp>“I pledged this to a priest, I pledged to a rabbi: I am not seeking any other office after this,” Lurie said. “I’m gonna be able to make the tough decisions because I’m not looking to go to Sacramento. I’m not looking to get to D.C. I’m looking to turn around the city that we all love.” \u003c/p>\n\u003cp>Safaí used his remaining time to paint himself as a candidate with the right experience for the job who will “get away from divisive politics.” \u003c/p>\n\u003cp>“You need to be ready for this job, day one,” Safaí said. “There are people that are literally trying to buy Room 200. They’re trying to write a check to make up for their lack of experience and ensure that they can come into this job.” \u003c/p>\n\u003cp>With less than a minute of time remaining, Peskin thanked everyone for coming out and reiterated his desire to reassert San Francisco as a “refuge of otherness.” \u003c/p>\n\u003cp>“And don’t forget to vote for my kindergarten pal,” he said, referencing Kamala Harris. \u003c/p>\n\u003cp>\u003ca href=\"https://www.betterbayarea.org/\">Arts for a Better Bay Area\u003c/a> noted that in the coming days, the candidates’ full responses will be posted on their website, along with other questions for candidates not asked at the forum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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