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He was 91.\u003c/p>\n\u003cp>Strachwitz, recipient in 2016 of a Grammy Trustee Award, passed away Friday from complications with congestive heart failure at an assisted living facility in the San Francisco Bay Area’s Marin County, the Arhoolie Foundation said Saturday.\u003c/p>\n\u003cp>Admired by Bob Dylan, Bonnie Raitt and many others, Strachwitz was an unlikely champion of the American vernacular — a native German born into privilege who fell deeply for his adopted country’s music and was among the most intrepid field recorders to emerge after Alan Lomax.\u003c/p>\n\u003cp>[aside postID='forum_2010101854728']He founded Arhoolie in 1960 and over the following decades traveled to Mississippi, Texas and Louisiana among other states on a mission that rarely relented: taping little-known artists in their home environments, be it a dance hall, a front porch, a beer joint, a backyard.\u003c/p>\n\u003cp>“My stuff isn’t produced. I just catch it as it is,” he explained in the 2014 documentary \u003cem>This Ain’t No Mouse Music\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The name Arhoolie, suggested by fellow musicologist Mack McCormick, is allegedly a regional expression for field holler.\u003c/p>\n\u003cp>Ry Cooder would call him “El Fanatico,” the kind of true believer for whom just the rumor of a musician worth hearing would inspire him to get on a bus and ride hundreds of miles — like the time he sought out bluesman Lightnin’ Hopkins in Houston. Strachwitz amassed a vast catalog of blues, Tejano, folk, jazz, gospel and Zydeco, with Grammy winners Flaco Jimenez and Clifton Chenier among those who later attracted wider followings. An Arhoolie 50-year anniversary box set featured Maria Muldaur, Taj Mahal, Savoy Family Band and Cooder, who would cite the Arhoolie release \u003cem>Mississippi’s Big Joe Williams and His Nine-String Guitar\u003c/em> as an early inspiration.\u003c/p>\n\u003cp>“It just jumped out of the speaker on this little school record player,” Cooder told NPR in 2013, adding that he decided “once and for all” to become a musician. “I’m gonna do this, too. I’m gonna get good on guitar, and I’m gonna play it like that.”\u003c/p>\n\u003cp>[aside postID='arts_13883253']Strachwitz despised most commercial music — “mouse music,” he called it — but he did have just enough success to keep Arhoolie going. In the mid-1960s, he recorded an album in his living room for no charge by Berkeley-based folk performer Joe McDonald, who in turn granted publishing rights to Arhoolie. By 1969, McDonald was leading Country Joe McDonald and the Fish and one song from the Arhoolie sessions, the anti-war anthem “I-Feel-Like-I’m-Fixin’-to-Die Rag,” was a highlight of the Woodstock festival and soundtrack.\u003c/p>\n\u003cp>Arhoolie releases were cherished by blues fans in England, including Keith Richards of the Rolling Stones. Around the same time Strachwitz met with McDonald, he taped more than a dozen songs by bluesman “Mississippi” Fred McDowell, including McDowell’s version of an old spiritual, “You Gotta Move.” The Stones sang a few lines from it during the 1970 documentary \u003cem>Gimme Shelter\u003c/em> and recorded a cover that appeared on their acclaimed 1971 album \u003cem>Sticky Fingers\u003c/em>. Strachwitz prevailed over the resistance of the band’s lawyers and ensured that royalties were given to McDowell, who was dying of cancer.\u003c/p>\n\u003cp>“I was able to give Fred McDowell the biggest check he’d ever seen in his life,” Strachwitz later said.\u003c/p>\n\u003cp>In 1993, Arhoolie was boosted again when country star Alan Jackson had a hit with “Mercury Blues,” a song co-written and first performed by K.C. Douglas for the label.\u003c/p>\n\u003cp>Besides his Grammy, Strachwitz received a lifetime achievement award from the Blues Symposium and was inducted as a non-performing member of the Blues Hall of Fame. In 1995, Strachwitz established the Arhoolie Foundation to “document, preserve, present and disseminate authentic traditional and regional vernacular music,” with advisers including Dylan, Bonnie Raitt and Linda Ronstadt. In 2016, Strachwitz sold his majority interest in the record label to Smithsonian Folkways Recordings, part of the national museum in Washington.\u003c/p>\n\u003cp>“The ripple effect of Chris Strachwitz in the world of is immeasurable in preserving this music,” Raitt, a longtime friend, told the podcast \u003cem>The Kitchen Sisters Present\u003c/em> in 2019.\u003c/p>\n\u003cp>[aside postID='arts_10142164']The son of wealthy farm owners, he was born Count Christian Alexander Maria Strachwitz in the German region of Silesia, now part of Poland. His family, displaced at the end of World War II, moved to the United States in 1947, eventually settling in Santa Barbara, California. Strachwitz had already been exposed to swing overseas through Armed Forces Radio and became a jazz fan after seeing the movie \u003cem>New Orleans\u003c/em>, a 1947 musical featuring Louis Armstrong and Billie Holiday. He also felt a strong kinship with country and other forms of “hillbilly music.”\u003c/p>\n\u003cp>“I felt it all had this kind of earthiness to it that I didn’t hear in any other kind of music. They sang about how lonesome you are, and how you miss your girlfriend and all this other thing,” Strachwitz told NPR. “Those songs really spoke to me.”\u003c/p>\n\u003cp>By his early 20s, he was taping local radio and live performances and he perfected his craft while attending the University of California at Berkeley. He served two years in the Army, completed his studies at Berkeley through the GI Bill and, starting in the late 1950s, taught high school for a few years in Los Gatos, California.\u003c/p>\n\u003cp>Often short on money, Strachwitz sold pressings from his collection of old 78s to support his early recording efforts. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Strachwitz despised most commercial music — “mouse music,” he called it — but he did have just enough success to keep Arhoolie going. In the mid-1960s, he recorded an album in his living room for no charge by Berkeley-based folk performer Joe McDonald, who in turn granted publishing rights to Arhoolie. By 1969, McDonald was leading Country Joe McDonald and the Fish and one song from the Arhoolie sessions, the anti-war anthem “I-Feel-Like-I’m-Fixin’-to-Die Rag,” was a highlight of the Woodstock festival and soundtrack.\u003c/p>\n\u003cp>Arhoolie releases were cherished by blues fans in England, including Keith Richards of the Rolling Stones. Around the same time Strachwitz met with McDonald, he taped more than a dozen songs by bluesman “Mississippi” Fred McDowell, including McDowell’s version of an old spiritual, “You Gotta Move.” The Stones sang a few lines from it during the 1970 documentary \u003cem>Gimme Shelter\u003c/em> and recorded a cover that appeared on their acclaimed 1971 album \u003cem>Sticky Fingers\u003c/em>. Strachwitz prevailed over the resistance of the band’s lawyers and ensured that royalties were given to McDowell, who was dying of cancer.\u003c/p>\n\u003cp>“I was able to give Fred McDowell the biggest check he’d ever seen in his life,” Strachwitz later said.\u003c/p>\n\u003cp>In 1993, Arhoolie was boosted again when country star Alan Jackson had a hit with “Mercury Blues,” a song co-written and first performed by K.C. Douglas for the label.\u003c/p>\n\u003cp>Besides his Grammy, Strachwitz received a lifetime achievement award from the Blues Symposium and was inducted as a non-performing member of the Blues Hall of Fame. In 1995, Strachwitz established the Arhoolie Foundation to “document, preserve, present and disseminate authentic traditional and regional vernacular music,” with advisers including Dylan, Bonnie Raitt and Linda Ronstadt. In 2016, Strachwitz sold his majority interest in the record label to Smithsonian Folkways Recordings, part of the national museum in Washington.\u003c/p>\n\u003cp>“The ripple effect of Chris Strachwitz in the world of is immeasurable in preserving this music,” Raitt, a longtime friend, told the podcast \u003cem>The Kitchen Sisters Present\u003c/em> in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The son of wealthy farm owners, he was born Count Christian Alexander Maria Strachwitz in the German region of Silesia, now part of Poland. His family, displaced at the end of World War II, moved to the United States in 1947, eventually settling in Santa Barbara, California. Strachwitz had already been exposed to swing overseas through Armed Forces Radio and became a jazz fan after seeing the movie \u003cem>New Orleans\u003c/em>, a 1947 musical featuring Louis Armstrong and Billie Holiday. He also felt a strong kinship with country and other forms of “hillbilly music.”\u003c/p>\n\u003cp>“I felt it all had this kind of earthiness to it that I didn’t hear in any other kind of music. They sang about how lonesome you are, and how you miss your girlfriend and all this other thing,” Strachwitz told NPR. “Those songs really spoke to me.”\u003c/p>\n\u003cp>By his early 20s, he was taping local radio and live performances and he perfected his craft while attending the University of California at Berkeley. He served two years in the Army, completed his studies at Berkeley through the GI Bill and, starting in the late 1950s, taught high school for a few years in Los Gatos, California.\u003c/p>\n\u003cp>Often short on money, Strachwitz sold pressings from his collection of old 78s to support his early recording efforts. Arhoolie’s first release was Mance Lipscomb’s \u003cem>Texas Sharecropper and Songster\u003c/em>, for which Strachwitz and friends personally assembled 250 copies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So much of pop music has all this slop added, with this mush background that I can’t even call music,” he said in a 2013 interview with the online publication waytooindie.com. “You can hardly hear the voices! They bury the voices. If somebody wants to sing, sing, goddammit! You know? In the old days, you could hear them sing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Picket Signs of the Hollywood Writers’ Strike",
"headTitle": "The Best Picket Signs of the Hollywood Writers’ Strike | KQED",
"content": "\u003cp>As the \u003ca href=\"https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike\">Writers Guild of America strike\u003c/a> continues into its third day, the jokes aren’t on late night TV anymore — they’re on the picket lines.\u003c/p>\n\u003cp>More than 11,000 movie and television writers have stopped working after contract negotiations stalled out between their union and the Alliance of Motion Picture and Television Producers, the trade association that represents Hollywood’s studios and production companies.\u003c/p>\n\u003cp>[aside postid='arts_13928545']\u003ca href=\"https://www.npr.org/2023/05/03/1173552824/what-writers-strike-means-for-viewers\">The standoff\u003c/a> could last months and shut down Hollywood production. (The \u003ca href=\"https://www.npr.org/2023/05/03/1173439467/writers-guild-strike-2023-comparison-2007\">last writers’ strike\u003c/a> lasted from November 2007 into February 2008.) Some of the \u003ca href=\"https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf\">sticking points include\u003c/a> questions over staffing levels for new TV programs and income from episodes aired on streaming services.\u003c/p>\n\u003cp>Since the strike kicked off Tuesday, hundreds of writers have picketed in the Los Angeles area and in New York, outside the studios and offices of Netflix, NBCUniversal, Disney, Sony, Paramount, Warner Bros. and others.\u003c/p>\n\u003cp>Among the signs were jokes about the artificial intelligence service \u003ca href=\"https://www.npr.org/2023/02/02/1152481564/we-asked-the-new-ai-to-do-some-simple-rocket-science-it-crashed-and-burned\">ChatGPT\u003c/a>, the wealth of studio executives and many, many references to the HBO hit \u003ca href=\"https://www.npr.org/2023/03/22/1165032183/succession-season-4-review\">\u003cem>Succession\u003c/em>\u003c/a>. Here are some of our favorites:\u003c/p>\n\u003cfigure id=\"attachment_13928704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg\" alt='Protesters on a picket line. Signs read: \"Writers Guild of America on Strike!\" and \"Without writers, Meredith Grey would not be a surgeon, no students could attend Abbot Elementary and Logan Roy would be alive!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picketer at Paramount Studios in Los Angeles carries a sign with references to the television shows ‘Grey’s Anatomy,’ ‘Abbott Elementary’ and ‘Succession.’ \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/NazaninNour/status/1653916450858446848\u003c/p>\n\u003cfigure id=\"attachment_13928705\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg\" alt='Protesters on picket lines carry signs that read: \"Succession without writers is just The Apprentice — and look how well that turned out\" and \"Wrote ChatGPT This.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On left, a picket sign outside Netflix headquarters in Hollywood. On right, writer K.C. Scott pickets outside Amazon Studios in Culver City, California. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/EmmaTolkin/status/1653496828665683969\u003c/p>\n\u003cfigure id=\"attachment_13928706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928706\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg\" alt=\"A protester on a picket line holds up a sign that reads: "You're gonna be the villains in the limited series about this!"\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294-1536x1160.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/villain-actual-size-_custom-ad44f83caf354b57b6f7b15420022de3573a3e43-scaled-e1683304827294.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside Netflix headquarters in Hollywood on the first day of the writer’s strike. \u003ccite>(Mandalit del Barco/NPR News)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/MasonLieberman/status/1653915636660326402\u003c/p>\n\u003cfigure id=\"attachment_13928707\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928707\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg\" alt='A Writers Guild of America striker holds up a sign that says: \"You came up with Quibi.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123050775069_slide-96856cb58da69b28b3d34d46816cce5676562b80-scaled-e1683304948731.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Writer Jono Matt holds a sign referring to the short-lived streaming service Quibi at the WGA picket line outside Warner Bros. Studios in Burbank. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/jennyyangtv/status/1653856504821456897\u003c/p>\n\u003cfigure id=\"attachment_13928708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-800x533.jpg\" alt='Writers Guild of America picketers gather. One holds up a sign reading: \"I told ChatGPT to write a picket sign and it sucked.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/ap23123731722844_slide-ef6ba136fb3116c851e9b8d73aa76ae9926e712a-scaled-e1683305121407.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A WGA protest outside the Netflix headquarters in New York City. \u003ccite>(AP Photo/Stefan Jeremiah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>https://twitter.com/marinarachael/status/1653560546405515264\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+best+picket+signs+of+the+Hollywood+writers%27+strike&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the \u003ca href=\"https://www.npr.org/2023/05/02/1172876800/writers-guild-calls-strike\">Writers Guild of America strike\u003c/a> continues into its third day, the jokes aren’t on late night TV anymore — they’re on the picket lines.\u003c/p>\n\u003cp>More than 11,000 movie and television writers have stopped working after contract negotiations stalled out between their union and the Alliance of Motion Picture and Television Producers, the trade association that represents Hollywood’s studios and production companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.npr.org/2023/05/03/1173552824/what-writers-strike-means-for-viewers\">The standoff\u003c/a> could last months and shut down Hollywood production. (The \u003ca href=\"https://www.npr.org/2023/05/03/1173439467/writers-guild-strike-2023-comparison-2007\">last writers’ strike\u003c/a> lasted from November 2007 into February 2008.) Some of the \u003ca href=\"https://www.wga.org/uploadedfiles/members/member_info/contract-2023/WGA_proposals.pdf\">sticking points include\u003c/a> questions over staffing levels for new TV programs and income from episodes aired on streaming services.\u003c/p>\n\u003cp>Since the strike kicked off Tuesday, hundreds of writers have picketed in the Los Angeles area and in New York, outside the studios and offices of Netflix, NBCUniversal, Disney, Sony, Paramount, Warner Bros. and others.\u003c/p>\n\u003cp>Among the signs were jokes about the artificial intelligence service \u003ca href=\"https://www.npr.org/2023/02/02/1152481564/we-asked-the-new-ai-to-do-some-simple-rocket-science-it-crashed-and-burned\">ChatGPT\u003c/a>, the wealth of studio executives and many, many references to the HBO hit \u003ca href=\"https://www.npr.org/2023/03/22/1165032183/succession-season-4-review\">\u003cem>Succession\u003c/em>\u003c/a>. Here are some of our favorites:\u003c/p>\n\u003cfigure id=\"attachment_13928704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg\" alt='Protesters on a picket line. Signs read: \"Writers Guild of America on Strike!\" and \"Without writers, Meredith Grey would not be a surgeon, no students could attend Abbot Elementary and Logan Roy would be alive!\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/gettyimages-1252543810_slide-577c834bf47c4906e7f520c00d90048464f68ca8-scaled-e1683304555714.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A picketer at Paramount Studios in Los Angeles carries a sign with references to the television shows ‘Grey’s Anatomy,’ ‘Abbott Elementary’ and ‘Succession.’ \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cfigure id=\"attachment_13928705\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg\" alt='Protesters on picket lines carry signs that read: \"Succession without writers is just The Apprentice — and look how well that turned out\" and \"Wrote ChatGPT This.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/wga2_slide-5485825442cc50113380e33d2a19111e2c593fb6-scaled-e1683304610284.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On left, a picket sign outside Netflix headquarters in Hollywood. On right, writer K.C. Scott pickets outside Amazon Studios in Culver City, California. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\u003c/p>\u003c/div>",
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"title": "Hollywood Writers Begin Strike, Late-Night Shows Go Dark",
"headTitle": "Hollywood Writers Begin Strike, Late-Night Shows Go Dark | KQED",
"content": "\u003cp>Late-night TV shows including \u003cem>The Tonight Show\u003c/em> and \u003cem>The Daily Show\u003c/em> will begin airing reruns Tuesday as unionized screenwriters soured by diminished pay in the streaming era went on strike for the first time in 15 years.\u003c/p>\n\u003cp>Some 11,500 film and television writers represented by the Writers Guild of America put down their pens and laptops after failing to reach a new contract with the trade association that represents Hollywood studios and production companies.\u003c/p>\n\u003cp>The labor dispute could have a cascading effect on TV and film productions depending on how long the strike lasts, and it comes as streaming services are under growing pressure from Wall Street to show profits.\u003c/p>\n\u003cp>Late-night television was the first to feel the fallout, just as it was during the 2007 writers strike that last for 100 days.\u003c/p>\n\u003cp>All of the top late-night shows, which are staffed by writers that pen monologues and jokes for their hosts, immediately went dark. NBC’s \u003cem>The Tonight Show\u003c/em>, Comedy Central’s \u003cem>Daily Show\u003c/em>, ABC’s \u003cem>Jimmy Kimmel Live\u003c/em>, CBS’s \u003cem>The Late Show\u003c/em> and NBC’s \u003cem>Late Night\u003c/em> all made plans for reruns through the week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MorePerfectUS/status/1653403030635573249\u003c/p>\n\u003cp>NBC didn’t immediately comment on plans for \u003cem>Saturday Night Live\u003c/em>. The sketch show is scheduled to air a new episode Saturday hosted by Pete Davidson.\u003c/p>\n\u003cp>“Everyone including myself hope both sides reach a deal. But I also think that the writers’ demands are not unreasonable,” host Stephen Colbert said on Monday’s \u003cem>Late Show\u003c/em>.\u003c/p>\n\u003cp>“This nation owes so much to unions,” Colbert said. “Unions are the reason we have weekends, and by extension why we have TGI Fridays.”\u003c/p>\n\u003cp>https://twitter.com/MorePerfectUS/status/1653430865974657024\u003c/p>\n\u003cp>The strike’s impact on scripted series and films will take longer to notice; those with finished scripts are permitted to continue shooting. During the 2007 strike, late-night hosts eventually returned to air and improvised their way through shows.\u003c/p>\n\u003cp>One late-night show won’t go dark. Fox News’ \u003cem>Gutfeld!\u003c/em> with Greg Gutfeld will continue airing new episodes, Fox said Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13928016']The writers’ guild is seeking higher minimum pay, less thinly staffed writing rooms, shorter exclusive contracts and a reworking of residual pay — all conditions it says have been diminished in the content boom driven by streaming.\u003c/p>\n\u003cp>“The companies’ behavior has created a gig economy inside a union workforce,” the WGA said in a statement.\u003c/p>\n\u003cp>Picket lines were planned Tuesday in Los Angeles and New York, including outside the Manhattan building where NBCUniversal is holding an event for advertisers to its streaming service, Peacock.\u003c/p>\n\u003cp>In Los Angeles, writers plan to demonstrate outside the offices of Walt Disney Co., Netflix, Amazon, Universal, Warner Bros., Paramount, CBS and Sony.\u003c/p>\n\u003cp>The Alliance of Motion Picture and Television Producers, which represents studios and productions companies, said it presented an offer with “generous increases in compensation for writers as well as improvements in streaming residuals.”\u003c/p>\n\u003cp>[aside postid='arts_13927621']The trade association said in a statement that it was prepared to improve its offer “but was unwilling to do so because of the magnitude of other proposals still on the table that the guild continues to insist upon.”\u003c/p>\n\u003cp>A shutdown has been widely forecast for months. The writers last month voted overwhelmingly to authorize a strike, with 98% of membership in support. Writers say their pay isn’t keeping pace with inflation, TV writer rooms have shrunk too much and the old calculus for how residuals are paid out needs to be redrawn.\u003c/p>\n\u003cp>Streaming has exploded the number of series and films that are annually made, meaning more jobs for writers. But writers say they’re making less than they used to while working under more strained conditions.\u003c/p>\n\u003cp>The guild is seeking more compensation for writers up front. That’s because many of the payments writers have historically profited from on the back end — like syndication and international licensing — have been largely phased out by the onset of streaming.\u003c/p>\n\u003cp>More writers — roughly half — are being paid minimum rates, an increase of 16% over the last decade.\u003c/p>\n\u003cp>[aside postid='arts_13927554']Hollywood’s trade association said Monday that the primary sticking points to a deal revolved around so-called mini-rooms — the guild is seeking a minimum number of scribes per writer room — and the duration of employment contracts.\u003c/p>\n\u003cp>The guild has said more flexibility for writers is needed when they’re contracted for series that have tended to be shorter-lived than the once-standard 20-plus episode broadcast season.\u003c/p>\n\u003cp>Many studios and production companies are slashing spending. The Walt Disney Co. is eliminating 7,000 jobs. Warner Bros. Discovery is cutting costs to lessen its debt. Netflix has pumped the breaks on spending growth.\u003c/p>\n\u003cp>Films will take longer to be affected, and if a strike persisted through the summer, fall TV schedules could be upended. Meantime, not having writers available for rewrites can have a dramatic effect on quality.\u003c/p>\n\u003cp>The James Bond film \u003cem>Quantum of Solace\u003c/em> was one of many films rushed into production during the 2007-2008 strike with what Daniel Craig called “the bare bones of a script.”\u003c/p>\n\u003cp>“There was me trying to rewrite scenes — and a writer I am not,” Craig later recounted.\u003c/p>\n\u003cp>[aside postid='arts_13927774']With a walkout long expected, writers have rushed to get scripts in and studios have sought to prepare their pipelines to keep churning out content for at least the short term.\u003c/p>\n\u003cp>“We’re assuming the worst from a business perspective,” David Zaslav, chief executive of Warner Bros. Discovery, said last month. “We’ve got ourselves ready. We’ve had a lot of content that’s been produced.”\u003c/p>\n\u003cp>Overseas series could also fill some of the void. “We have a large base of upcoming shows and films from around the world,” Ted Sarandos, Netflix co-chief executive, said on the company’s earnings call in April.\u003c/p>\n\u003cp>Yet the WGA strike may only be the beginning. Contracts for both the Directors Guild of America and SAG-AFTRA, the actors union, expire in June. Some of the same issues around the business model of streaming will factor into those bargaining sessions. The DGA is set to begin negotiations with AMPTP on May 10.\u003c/p>\n\u003cp>AP Media Writer David Bauder in New York contributed to this report.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>NBC didn’t immediately comment on plans for \u003cem>Saturday Night Live\u003c/em>. The sketch show is scheduled to air a new episode Saturday hosted by Pete Davidson.\u003c/p>\n\u003cp>“Everyone including myself hope both sides reach a deal. But I also think that the writers’ demands are not unreasonable,” host Stephen Colbert said on Monday’s \u003cem>Late Show\u003c/em>.\u003c/p>\n\u003cp>“This nation owes so much to unions,” Colbert said. “Unions are the reason we have weekends, and by extension why we have TGI Fridays.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The strike’s impact on scripted series and films will take longer to notice; those with finished scripts are permitted to continue shooting. During the 2007 strike, late-night hosts eventually returned to air and improvised their way through shows.\u003c/p>\n\u003cp>One late-night show won’t go dark. Fox News’ \u003cem>Gutfeld!\u003c/em> with Greg Gutfeld will continue airing new episodes, Fox said Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The writers’ guild is seeking higher minimum pay, less thinly staffed writing rooms, shorter exclusive contracts and a reworking of residual pay — all conditions it says have been diminished in the content boom driven by streaming.\u003c/p>\n\u003cp>“The companies’ behavior has created a gig economy inside a union workforce,” the WGA said in a statement.\u003c/p>\n\u003cp>Picket lines were planned Tuesday in Los Angeles and New York, including outside the Manhattan building where NBCUniversal is holding an event for advertisers to its streaming service, Peacock.\u003c/p>\n\u003cp>In Los Angeles, writers plan to demonstrate outside the offices of Walt Disney Co., Netflix, Amazon, Universal, Warner Bros., Paramount, CBS and Sony.\u003c/p>\n\u003cp>The Alliance of Motion Picture and Television Producers, which represents studios and productions companies, said it presented an offer with “generous increases in compensation for writers as well as improvements in streaming residuals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The trade association said in a statement that it was prepared to improve its offer “but was unwilling to do so because of the magnitude of other proposals still on the table that the guild continues to insist upon.”\u003c/p>\n\u003cp>A shutdown has been widely forecast for months. The writers last month voted overwhelmingly to authorize a strike, with 98% of membership in support. Writers say their pay isn’t keeping pace with inflation, TV writer rooms have shrunk too much and the old calculus for how residuals are paid out needs to be redrawn.\u003c/p>\n\u003cp>Streaming has exploded the number of series and films that are annually made, meaning more jobs for writers. But writers say they’re making less than they used to while working under more strained conditions.\u003c/p>\n\u003cp>The guild is seeking more compensation for writers up front. That’s because many of the payments writers have historically profited from on the back end — like syndication and international licensing — have been largely phased out by the onset of streaming.\u003c/p>\n\u003cp>More writers — roughly half — are being paid minimum rates, an increase of 16% over the last decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hollywood’s trade association said Monday that the primary sticking points to a deal revolved around so-called mini-rooms — the guild is seeking a minimum number of scribes per writer room — and the duration of employment contracts.\u003c/p>\n\u003cp>The guild has said more flexibility for writers is needed when they’re contracted for series that have tended to be shorter-lived than the once-standard 20-plus episode broadcast season.\u003c/p>\n\u003cp>Many studios and production companies are slashing spending. The Walt Disney Co. is eliminating 7,000 jobs. Warner Bros. Discovery is cutting costs to lessen its debt. Netflix has pumped the breaks on spending growth.\u003c/p>\n\u003cp>Films will take longer to be affected, and if a strike persisted through the summer, fall TV schedules could be upended. Meantime, not having writers available for rewrites can have a dramatic effect on quality.\u003c/p>\n\u003cp>The James Bond film \u003cem>Quantum of Solace\u003c/em> was one of many films rushed into production during the 2007-2008 strike with what Daniel Craig called “the bare bones of a script.”\u003c/p>\n\u003cp>“There was me trying to rewrite scenes — and a writer I am not,” Craig later recounted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With a walkout long expected, writers have rushed to get scripts in and studios have sought to prepare their pipelines to keep churning out content for at least the short term.\u003c/p>\n\u003cp>“We’re assuming the worst from a business perspective,” David Zaslav, chief executive of Warner Bros. Discovery, said last month. “We’ve got ourselves ready. We’ve had a lot of content that’s been produced.”\u003c/p>\n\u003cp>Overseas series could also fill some of the void. “We have a large base of upcoming shows and films from around the world,” Ted Sarandos, Netflix co-chief executive, said on the company’s earnings call in April.\u003c/p>\n\u003cp>Yet the WGA strike may only be the beginning. Contracts for both the Directors Guild of America and SAG-AFTRA, the actors union, expire in June. Some of the same issues around the business model of streaming will factor into those bargaining sessions. The DGA is set to begin negotiations with AMPTP on May 10.\u003c/p>\n\u003cp>AP Media Writer David Bauder in New York contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a move long seen as inevitable, the San Francisco Art Institute filed for Chapter 7 bankruptcy protection last Wednesday, on April 19, 2023. The case is currently pending in the United States Bankruptcy Court for the Northern District of California.\u003c/p>\n\u003cp>SFAI’s recent financial struggles became public in March 2020, when \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\">the school announced\u003c/a> it would not be enrolling a new class of students and was preparing faculty and staff for layoffs. In October 2020, to avoid foreclosure on its 800 Chestnut St. property, the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\">UC Regents assumed ownership\u003c/a> of the campus, and SFAI became a tenant. \u003c/p>\n\u003cp>And yet the school hobbled on with tiny classes and a skeleton team of administrators and educators. A hoped-for merger with the University of San Francisco fell through in July 2022. The 152-year-old art school graduated its last class of five undergraduates that same month. The campus has sat empty since.\u003c/p>\n\u003cp>[aside postID='arts_13925086']Most recently, a new and separate nonprofit, the \u003ca href=\"https://www.sfailegacyarchive.org/\">SFAI Legacy Foundation and Archive\u003c/a>, staffed by former SFAI archivists and librarians Jeff Gunderson and Becky Alexander, moved the institution’s archives into facilities at 20 Hawthorne St., also home to Crown Point Press.\u003c/p>\n\u003cp>Chapter 7 bankruptcy proceedings usually lead to liquidation. In an interview with KQED earlier this year, SFAI board member John Marx explained that SFAI would only emerge from bankruptcy if enough funds were left to restart the school after settling debts. The \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/034142172203.pdf\">April 19 court documents [PDF]\u003c/a>, signed by the school’s Interim Chief Operating Officer Mark Kushner, estimate that SFAI has 100–199 creditors and $500,001–$1 million in assets. The creditors likely include former faculty and staff, who may be entitled to additional severance in the pending case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a move long seen as inevitable, the San Francisco Art Institute filed for Chapter 7 bankruptcy protection last Wednesday, on April 19, 2023. The case is currently pending in the United States Bankruptcy Court for the Northern District of California.\u003c/p>\n\u003cp>SFAI’s recent financial struggles became public in March 2020, when \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\">the school announced\u003c/a> it would not be enrolling a new class of students and was preparing faculty and staff for layoffs. In October 2020, to avoid foreclosure on its 800 Chestnut St. property, the \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\">UC Regents assumed ownership\u003c/a> of the campus, and SFAI became a tenant. \u003c/p>\n\u003cp>And yet the school hobbled on with tiny classes and a skeleton team of administrators and educators. A hoped-for merger with the University of San Francisco fell through in July 2022. The 152-year-old art school graduated its last class of five undergraduates that same month. The campus has sat empty since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stern Grove Lineup: Patti Smith, Santigold, Flaming Lips, Neko Case, Buddy Guy, More",
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"content": "\u003cp>The \u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a> lineup for 2023 has been announced, and includes legends both new and old performing free concerts in the festival’s outdoor setting. \u003c/p>\n\u003cp>Patti Smith, Santigold, Flaming Lips, Neko Case, Buddy Guy, Angélique Kidjo, the Indigo Girls, Snarky Puppy, Lyle Lovett with his Large Band, the San Francisco Symphony, and Bob Moses round out the headlining acts on Sunday afternoons throughout the summertime. Openers include Bob Mould, Isaiah Sharkey, Andrew St. James and more. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" class=\"aligncenter size-medium wp-image-13928226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-1536x804.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While the shows at Stern Grove are free, online reservations are required. \u003ca href=\"https://www.sterngrove.org/\">Reservations\u003c/a> may be made one month before each show.\u003c/p>\n\u003cp>This year marks a return for the festival after three years of disruptions from the Covid-19 pandemic and debilitating flooding. Still, last year’s series attracted 70,000 attendees, according to organizers, and the festival remains one of the most popular weekend activities in the summertime in San Francisco. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Details here\u003c/a>, and full schedule below.\u003c/p>\n\u003cfigure id=\"attachment_13914703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13914703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>June 18\u003c/strong>: Snarky Puppy, Isaiah Sharkey\u003cbr>\n\u003cstrong>June 25\u003c/strong>: Indigo Girls (with Full Band), Neko Case\u003cbr>\n\u003cstrong>July 2\u003c/strong>: Santigold, Ogi\u003cbr>\n\u003cstrong>July 9\u003c/strong>: Lyle Lovett and His Large Band, Andrew St. James\u003cbr>\n\u003cstrong>July 16\u003c/strong>: Angelique Kidjo, Jupiter & Okwess\u003cbr>\n\u003cstrong>July 23\u003c/strong>: SF Symphony with Special Guest Lettuce\u003cbr>\n\u003cstrong>July 30\u003c/strong>: Bob Moses, Neil Frances\u003cbr>\n\u003cstrong>Aug. 6\u003c/strong>: Buddy Guy Damn Right Farewell Tour, Eric Gales\u003cbr>\n\u003cstrong>Aug. 13\u003c/strong>: Patti Smith, Bob Mould\u003cbr>\n\u003cstrong>Aug. 20\u003c/strong>: The Big Picnic Featuring The Flaming Lips, Alan Palomo (Neon Indian DJ Set)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sterngrove.org/\">Stern Grove\u003c/a> lineup for 2023 has been announced, and includes legends both new and old performing free concerts in the festival’s outdoor setting. \u003c/p>\n\u003cp>Patti Smith, Santigold, Flaming Lips, Neko Case, Buddy Guy, Angélique Kidjo, the Indigo Girls, Snarky Puppy, Lyle Lovett with his Large Band, the San Francisco Symphony, and Bob Moses round out the headlining acts on Sunday afternoons throughout the summertime. Openers include Bob Mould, Isaiah Sharkey, Andrew St. James and more. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-800x419.jpg\" alt=\"\" width=\"800\" height=\"419\" class=\"aligncenter size-medium wp-image-13928226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner-1536x804.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/230420_SternGrove_LineUp_LongBanner.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>While the shows at Stern Grove are free, online reservations are required. \u003ca href=\"https://www.sterngrove.org/\">Reservations\u003c/a> may be made one month before each show.\u003c/p>\n\u003cp>This year marks a return for the festival after three years of disruptions from the Covid-19 pandemic and debilitating flooding. Still, last year’s series attracted 70,000 attendees, according to organizers, and the festival remains one of the most popular weekend activities in the summertime in San Francisco. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Details here\u003c/a>, and full schedule below.\u003c/p>\n\u003cfigure id=\"attachment_13914703\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-full wp-image-13914703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/The-crowd-at-Stern-Grove-Festival-on-Sunday-June-12-2022.-Estefany-Gonzalez-03-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Stern Grove Festival on Sunday, June 12, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>June 18\u003c/strong>: Snarky Puppy, Isaiah Sharkey\u003cbr>\n\u003cstrong>June 25\u003c/strong>: Indigo Girls (with Full Band), Neko Case\u003cbr>\n\u003cstrong>July 2\u003c/strong>: Santigold, Ogi\u003cbr>\n\u003cstrong>July 9\u003c/strong>: Lyle Lovett and His Large Band, Andrew St. James\u003cbr>\n\u003cstrong>July 16\u003c/strong>: Angelique Kidjo, Jupiter & Okwess\u003cbr>\n\u003cstrong>July 23\u003c/strong>: SF Symphony with Special Guest Lettuce\u003cbr>\n\u003cstrong>July 30\u003c/strong>: Bob Moses, Neil Frances\u003cbr>\n\u003cstrong>Aug. 6\u003c/strong>: Buddy Guy Damn Right Farewell Tour, Eric Gales\u003cbr>\n\u003cstrong>Aug. 13\u003c/strong>: Patti Smith, Bob Mould\u003cbr>\n\u003cstrong>Aug. 20\u003c/strong>: The Big Picnic Featuring The Flaming Lips, Alan Palomo (Neon Indian DJ Set)\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96",
"headTitle": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96 | KQED",
"content": "\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H5dpBWlRANE\u003c/p>\n\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXBJW1PuU8\u003c/p>\n\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zh1ow6zKapQ\u003c/p>\n\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYYkJ0kwNss\u003c/p>\n\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n",
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"headline": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\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/H5dpBWlRANE'\n title='//www.youtube.com/embed/H5dpBWlRANE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\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/kMXBJW1PuU8'\n title='//www.youtube.com/embed/kMXBJW1PuU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\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/Zh1ow6zKapQ'\n title='//www.youtube.com/embed/Zh1ow6zKapQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\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/DYYkJ0kwNss'\n title='//www.youtube.com/embed/DYYkJ0kwNss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\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 his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Upcoming ‘Drag Up! Fight Back!’ Rally Protests a Deluge of Anti-LGBTQ+ Laws",
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"content": "\u003cp>In 1966, San Francisco drag queens and trans women who frequented Compton’s Cafeteria were fed up with police harassment. In those days, it was common for cops to brutalize gender nonconforming people and arrest them for crimes like “female impersonation.” One night, when police showed up at Compton’s and grabbed a trans woman’s arm, the patrons fought back — coffee cups went flying, purses clunked officers’ heads and a newsstand went ablaze.\u003c/p>\n\u003cp>This rebellion, and the one at New York’s Stonewall Inn three years later in 1969, set the stage for the modern-day LGBTQ+ rights movement. [aside postid='arts_11838357']\u003c/p>\n\u003cp>These days, in the age of rainbow corporate advertising at Pride, many (at least, in the Bay Area) have forgotten that queer visibility in mainstream spaces has not always been a given. But with \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights\">451 anti-LGBTQ+ bills\u003c/a> — most of them targeting trans rights — in statehouses nationwide this year alone, the conditions that led to the riot at Compton’s Cafeteria no longer feel like echoes from the distant past.\u003c/p>\n\u003cp>Tennessee’s anti-drag law, the first of its kind in the nation, was \u003ca href=\"https://www.politico.com/news/2023/04/01/federal-judge-temporarily-blocks-tennessees-anti-drag-law-00090047\">temporarily blocked by a federal judge\u003c/a>, and its fate will be decided in court. Using the archaic language of the Compton’s Cafeteria days, it categorizes “male or female impersonators” as inherently explicit — akin to strippers, no matter the content of their performance — and bans them from performing on public property or in places where minors could be present. LGBTQ+ advocates have called the law overly broad, raising fears that it could become a pretext for policing gender nonconforming people’s right to simply exist in public — an eerie callback to norms from over half a century ago.\u003c/p>\n\u003cp>“It’s a sliding slope,” says Honey Mahogany, the San Francisco Democratic Party chair and \u003ca href=\"https://www.kqed.org/arts/13901451/the-worlds-first-transgender-district-creates-a-support-system-in-san-francisco\">Transgender Cultural District\u003c/a> co-founder who first rose to prominence as a drag performer before entering politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Alex U. Inn, \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, Oasis nightclub owner D’Arcy Drollinger and Sister Roma of the Sisters of Perpetual Indulgence, Mahogany is part of a coalition of drag activists organizing an upcoming march and rally called \u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> The protest kicks off this Saturday, April 8, at 11 a.m. outside San Francisco City Hall, and will move towards Union Square, where the day will finish with performances.\u003c/p>\n\u003cfigure id=\"attachment_13899475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From left) John Weber, Alex U. Inn, Juanita MORE! and Leandro Gonzales lead the People’s March and Rally in San Francisco on June 27, 2021. Inn and MORE! are two key organizers of Drag Up! Fight Back! \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The LGBTQ community is not taking this lying down,” Mahogany says. “Drag queens will not be silenced and we will not go back to the closet. We will not be relegated to just the back of a dark room in a club. We are here, part of the community.”\u003c/p>\n\u003cp>She and other advocates don’t buy rightwing lawmakers’ guise of protecting children by restricting drag — a freedom of expression protected by the First Amendment. “It’s an art form,” she says. “And like all arts, it can be provocative, it can be explicit. And it can also be child appropriate. We’ve seen that play out through Drag Story Hour in many really wonderful ways that have been both affirming for the community and also affirming for a lot of those kids.”\u003c/p>\n\u003cp>[aside postid='arts_13926077']Drag Up! Fight Back! anticipates thousands of attendees, and has garnered support from lawmakers like State Senator Scott Wiener. He says that while these attacks on LGBTQ+ rights are playing out mostly in red states, Californians shouldn’t be complacent. “If the Republicans take over both the Congress and the presidency in the future, they will absolutely pass these laws into effect nationally,” he says. “We’re already seeing this with abortion, that they’re trying to effectively ban abortion pills nationwide. They will do the same with respect to LGBTQ people. This is our fight and it’s our fight everywhere.”\u003c/p>\n\u003cp>Outside of attending Saturday’s march, Wiener says Californians can help by supporting frontline LGBTQ+ organizations in other states. He and Mahogany both pointed to the importance of electing pro-LGBTQ+ political candidates. Mahogany says the San Francisco Democratic Party recently phone-banked to turn out voters for a federal judges’ race in Wisconsin.\u003c/p>\n\u003cp>“That is going to have huge consequences for the people of Wisconsin because when these types of laws and bills are passed, we know that we have a judge who is going to be impartial and enforce our Constitution,” Mahogany says.\u003c/p>\n\u003cp>Drag Up! Fight Back! comes during a particularly difficult week for the LGBTQ+ arts community. Just days ago, on Monday, San Francisco drag icon \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">Heklina unexpectedly died\u003c/a> while on tour in London. Though many are mourning, Mahogany says Heklina’s defiant spirit is also a source of motivation.\u003c/p>\n\u003cp>“If we don’t stand up now, then Heklinas of the future won’t be able to do what she has been able to achieve,” she says. “We’re fighting for all of the people that came before us. And I think it makes us even more determined to have our voice heard.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> begins at San Francisco City Hall on April 8 at 11 a.m. The march moves to Union Square where it will continue with a rally and performances until 3 p.m. \u003ca href=\"https://www.instagram.com/honeymahogany/\">Follow Honey Mahogany on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1966, San Francisco drag queens and trans women who frequented Compton’s Cafeteria were fed up with police harassment. In those days, it was common for cops to brutalize gender nonconforming people and arrest them for crimes like “female impersonation.” One night, when police showed up at Compton’s and grabbed a trans woman’s arm, the patrons fought back — coffee cups went flying, purses clunked officers’ heads and a newsstand went ablaze.\u003c/p>\n\u003cp>This rebellion, and the one at New York’s Stonewall Inn three years later in 1969, set the stage for the modern-day LGBTQ+ rights movement. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, in the age of rainbow corporate advertising at Pride, many (at least, in the Bay Area) have forgotten that queer visibility in mainstream spaces has not always been a given. But with \u003ca href=\"https://www.aclu.org/legislative-attacks-on-lgbtq-rights\">451 anti-LGBTQ+ bills\u003c/a> — most of them targeting trans rights — in statehouses nationwide this year alone, the conditions that led to the riot at Compton’s Cafeteria no longer feel like echoes from the distant past.\u003c/p>\n\u003cp>Tennessee’s anti-drag law, the first of its kind in the nation, was \u003ca href=\"https://www.politico.com/news/2023/04/01/federal-judge-temporarily-blocks-tennessees-anti-drag-law-00090047\">temporarily blocked by a federal judge\u003c/a>, and its fate will be decided in court. Using the archaic language of the Compton’s Cafeteria days, it categorizes “male or female impersonators” as inherently explicit — akin to strippers, no matter the content of their performance — and bans them from performing on public property or in places where minors could be present. LGBTQ+ advocates have called the law overly broad, raising fears that it could become a pretext for policing gender nonconforming people’s right to simply exist in public — an eerie callback to norms from over half a century ago.\u003c/p>\n\u003cp>“It’s a sliding slope,” says Honey Mahogany, the San Francisco Democratic Party chair and \u003ca href=\"https://www.kqed.org/arts/13901451/the-worlds-first-transgender-district-creates-a-support-system-in-san-francisco\">Transgender Cultural District\u003c/a> co-founder who first rose to prominence as a drag performer before entering politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Alex U. Inn, \u003ca href=\"https://www.kqed.org/arts/13919897/san-francisco-arts-commission-juanita-more-30-years\">Juanita MORE!\u003c/a>, Oasis nightclub owner D’Arcy Drollinger and Sister Roma of the Sisters of Perpetual Indulgence, Mahogany is part of a coalition of drag activists organizing an upcoming march and rally called \u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> The protest kicks off this Saturday, April 8, at 11 a.m. outside San Francisco City Hall, and will move towards Union Square, where the day will finish with performances.\u003c/p>\n\u003cfigure id=\"attachment_13899475\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/010_SanFrancisco_PeoplesMarch_06272021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(From left) John Weber, Alex U. Inn, Juanita MORE! and Leandro Gonzales lead the People’s March and Rally in San Francisco on June 27, 2021. Inn and MORE! are two key organizers of Drag Up! Fight Back! \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The LGBTQ community is not taking this lying down,” Mahogany says. “Drag queens will not be silenced and we will not go back to the closet. We will not be relegated to just the back of a dark room in a club. We are here, part of the community.”\u003c/p>\n\u003cp>She and other advocates don’t buy rightwing lawmakers’ guise of protecting children by restricting drag — a freedom of expression protected by the First Amendment. “It’s an art form,” she says. “And like all arts, it can be provocative, it can be explicit. And it can also be child appropriate. We’ve seen that play out through Drag Story Hour in many really wonderful ways that have been both affirming for the community and also affirming for a lot of those kids.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Drag Up! Fight Back! anticipates thousands of attendees, and has garnered support from lawmakers like State Senator Scott Wiener. He says that while these attacks on LGBTQ+ rights are playing out mostly in red states, Californians shouldn’t be complacent. “If the Republicans take over both the Congress and the presidency in the future, they will absolutely pass these laws into effect nationally,” he says. “We’re already seeing this with abortion, that they’re trying to effectively ban abortion pills nationwide. They will do the same with respect to LGBTQ people. This is our fight and it’s our fight everywhere.”\u003c/p>\n\u003cp>Outside of attending Saturday’s march, Wiener says Californians can help by supporting frontline LGBTQ+ organizations in other states. He and Mahogany both pointed to the importance of electing pro-LGBTQ+ political candidates. Mahogany says the San Francisco Democratic Party recently phone-banked to turn out voters for a federal judges’ race in Wisconsin.\u003c/p>\n\u003cp>“That is going to have huge consequences for the people of Wisconsin because when these types of laws and bills are passed, we know that we have a judge who is going to be impartial and enforce our Constitution,” Mahogany says.\u003c/p>\n\u003cp>Drag Up! Fight Back! comes during a particularly difficult week for the LGBTQ+ arts community. Just days ago, on Monday, San Francisco drag icon \u003ca href=\"https://www.kqed.org/arts/13927233/heklina-dies-drag-legend-san-francsico\">Heklina unexpectedly died\u003c/a> while on tour in London. Though many are mourning, Mahogany says Heklina’s defiant spirit is also a source of motivation.\u003c/p>\n\u003cp>“If we don’t stand up now, then Heklinas of the future won’t be able to do what she has been able to achieve,” she says. “We’re fighting for all of the people that came before us. And I think it makes us even more determined to have our voice heard.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13835025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/06/Compact_Logo_Break-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.mobilize.us/activateamerica/event/557263/\">Drag Up! Fight Back!\u003c/a> begins at San Francisco City Hall on April 8 at 11 a.m. The march moves to Union Square where it will continue with a rally and performances until 3 p.m. \u003ca href=\"https://www.instagram.com/honeymahogany/\">Follow Honey Mahogany on Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Heklina, the San Francisco drag legend and longtime performer at clubs around the city, has died in London, according to multiple reports.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.facebook.com/joshuagrannell/posts/pfbid02KjDojuS1c3sNoGwranKLk9FKkfunAZYLBj3GD3qJhiKW5t7kmqVRsCDfdqoUWHWel\">a Facebook post\u003c/a> on Monday, friend and colleague Peaches Christ wrote, “I am shocked and horrified to bring this news to you. … This morning, in London, England, I went to collect my dear friend Heklina, who is co-starring with me in a ‘Mommie Queerest’ show here, and found her dead. I do not know the cause of death yet. I know this is shocking news and I am beyond stunned.”\u003c/p>\n\u003cp>London’s Soho Theatre, where Peaches Christ and Heklina had been performing together in “Mommie Queerest,” also \u003ca href=\"https://twitter.com/sohotheatre/status/1642989190072680451\">posted a message\u003c/a> of being “in shock and incredibly saddened with news of Heklina’s passing. Our thoughts are with Peaches, Mommie Queerest company, Heklina’s family, friends + their wider community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch a short documentary on Heklina here\u003c/strong>:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=61qbUimYg9g\u003c/p>\n\u003cp>Heklina co-founded popular drag club Oasis, regularly performed at El Rio and The Stud, and was the creator and hostess of the long-running show Trannyshack (later called Mother). Heklina appeared regularly in drag parodies of popular television shows like \u003cem>Sex in the City\u003c/em>, \u003cem>Golden Girls\u003c/em> and \u003cem>Roseanne\u003c/em>, and produced and hosted a party called Daytime Realness — with the tagline “Dancing, Drag & Disorder” — most recently at El Rio just weeks ago, on March 19.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We at El Rio are absolutely devastated to hear of the passing of Heklina,” wrote El Rio co-owner Lynne Angel in an email to KQED. “She was a huge part of our extended family and we will miss her terribly. The mark she made on the San Francisco drag and performance scene is incomparable. We were blessed to work with her often and she was a joy to witness both on stage and off. May she be surrounded by cats, ’80s New Wave and football butts eternally. Rest in Power to one of the best.”\u003c/p>\n\u003cp>Heklina was born in Minneapolis, and was raised in New York, New England and Iceland. After a stint in the Navy, Heklina moved to San Francisco; in an interview segment from a KQED documentary in 2015, Heklina recalled that “immediately I fell in love with it, and I felt right at home.”\u003c/p>\n\u003cfigure id=\"attachment_12242568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/heklina-2015-800x533.jpg\" alt=\"Heklina\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heklina, pictured here in a promotional photo for one of many events at Oasis. \u003ccite>(Nick Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met Heklina around 1995 — which now feels like many generations past, just a year before she started her weekly party T-Shack at The Stud,” veteran drag performer Juanita MORE! wrote in an email to KQED. “I performed on the second week of the club, not caring or taking any consideration about what the theme was — and that’s how our friendship rolled. … We respected and knew what each other was great at doing. We cracked each other up all the time. The sound of her laugh will be missed greatly by everyone.”\u003c/p>\n\u003cp>[aside postID='arts_10134691']Artist and filmmaker Leo Herrera started working for Heklina as a photographer shortly after he first moved to San Francisco in 2003; Herrera was 21 at the time. By then, Trannyshack had become a San Francisco drag institution, and Heklina took Herrera under her wing. “Trannyshack brought drag back to its transgressive roots, and its roots of political resistance,” Herrera said. “There was a lot of healing that happened in the spaces that Heklina created, especially for folks that had come out of the AIDS crisis, and had moved from really homophobic places, like it was for me and my brother.”\u003c/p>\n\u003cp>Herrera says Heklina influenced a generation of artists — both drag performers and others like him who’ve gone on to make an impact in other fields. “I think a lot of us always strived to get her approval because it was really hard to. But once you got one of her deep cackles, you knew you had done something right.”\u003c/p>\n\u003cp>https://twitter.com/sfoasis/status/1643009770927042560\u003c/p>\n\u003cp>News of Heklina’s passing devastated the drag community in San Francisco and beyond. “I kept thinking it was an April Fool’s joke, it doesn’t make sense. I spoke to her the day before yesterday when she was heading to England from Iceland,” Oasis owner D’Arcy Drollinger told the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/drag-performer-heklina-reported-dead-in-london\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a>. “But it is confirmed, it is real.”\u003c/p>\n\u003cp>By Monday afternoon, a tearful crowd gathered for an informal memorial at Oasis, which Heklina co-owned until 2019. “She was a powerhouse. And she also had a soft side, and a vulnerable side, that I was lucky enough to get to know,” booking manager Carissa Hatchel, who performs as Snaxx, told KQED. “She was a very complicated person, and was very, very important to so many people in the community for so many decades now.”\u003c/p>\n\u003cp>“I started drag about eight years ago, and Heklina was one of the first queens I ever saw,” said Oasis performer Nicki Jizz. “She was unfiltered, she was unapologetically Heklina. She said whatever came to her mind. She didn’t care what anyone thought — which is a great trait for a drag performer.”\u003c/p>\n\u003cp>In a statement, State Senator Scott Wiener said he first saw Heklina perform in the 1990s, and was “devastated” by the news.\u003c/p>\n\u003cp>“Heklina was an icon in the truest sense — funny, caring, outrageous, and brave,” Wiener wrote. “I’ve rarely worked with someone as fierce, creative, and dedicated. … She was the soul of San Francisco, and it’s hard to imagine the city without her.”\u003c/p>\n\u003cp>Herrera echoed the sentiments of many on Monday that Heklina was synonymous with the best of drag tradition.\u003c/p>\n\u003cp>“A successful artist embodies their medium, so when we think of a brush or an instrument, we think of their name,” he said. “And I think for many of us, when we hear drag, we’re going to think of Heklina. She embodied the oldest and most powerful kind of drag that was about survival and political freedom, and I think we’re all going to miss that very much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/author/scottshafer\">Scott Shafer\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina, the San Francisco drag legend and longtime performer at clubs around the city, has died in London, according to multiple reports.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.facebook.com/joshuagrannell/posts/pfbid02KjDojuS1c3sNoGwranKLk9FKkfunAZYLBj3GD3qJhiKW5t7kmqVRsCDfdqoUWHWel\">a Facebook post\u003c/a> on Monday, friend and colleague Peaches Christ wrote, “I am shocked and horrified to bring this news to you. … This morning, in London, England, I went to collect my dear friend Heklina, who is co-starring with me in a ‘Mommie Queerest’ show here, and found her dead. I do not know the cause of death yet. I know this is shocking news and I am beyond stunned.”\u003c/p>\n\u003cp>London’s Soho Theatre, where Peaches Christ and Heklina had been performing together in “Mommie Queerest,” also \u003ca href=\"https://twitter.com/sohotheatre/status/1642989190072680451\">posted a message\u003c/a> of being “in shock and incredibly saddened with news of Heklina’s passing. Our thoughts are with Peaches, Mommie Queerest company, Heklina’s family, friends + their wider community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch a short documentary on Heklina here\u003c/strong>:\u003c/em>\u003cbr>\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/61qbUimYg9g'\n title='//www.youtube.com/embed/61qbUimYg9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Heklina co-founded popular drag club Oasis, regularly performed at El Rio and The Stud, and was the creator and hostess of the long-running show Trannyshack (later called Mother). Heklina appeared regularly in drag parodies of popular television shows like \u003cem>Sex in the City\u003c/em>, \u003cem>Golden Girls\u003c/em> and \u003cem>Roseanne\u003c/em>, and produced and hosted a party called Daytime Realness — with the tagline “Dancing, Drag & Disorder” — most recently at El Rio just weeks ago, on March 19.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We at El Rio are absolutely devastated to hear of the passing of Heklina,” wrote El Rio co-owner Lynne Angel in an email to KQED. “She was a huge part of our extended family and we will miss her terribly. The mark she made on the San Francisco drag and performance scene is incomparable. We were blessed to work with her often and she was a joy to witness both on stage and off. May she be surrounded by cats, ’80s New Wave and football butts eternally. Rest in Power to one of the best.”\u003c/p>\n\u003cp>Heklina was born in Minneapolis, and was raised in New York, New England and Iceland. After a stint in the Navy, Heklina moved to San Francisco; in an interview segment from a KQED documentary in 2015, Heklina recalled that “immediately I fell in love with it, and I felt right at home.”\u003c/p>\n\u003cfigure id=\"attachment_12242568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/heklina-2015-800x533.jpg\" alt=\"Heklina\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heklina, pictured here in a promotional photo for one of many events at Oasis. \u003ccite>(Nick Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met Heklina around 1995 — which now feels like many generations past, just a year before she started her weekly party T-Shack at The Stud,” veteran drag performer Juanita MORE! wrote in an email to KQED. “I performed on the second week of the club, not caring or taking any consideration about what the theme was — and that’s how our friendship rolled. … We respected and knew what each other was great at doing. We cracked each other up all the time. The sound of her laugh will be missed greatly by everyone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Artist and filmmaker Leo Herrera started working for Heklina as a photographer shortly after he first moved to San Francisco in 2003; Herrera was 21 at the time. By then, Trannyshack had become a San Francisco drag institution, and Heklina took Herrera under her wing. “Trannyshack brought drag back to its transgressive roots, and its roots of political resistance,” Herrera said. “There was a lot of healing that happened in the spaces that Heklina created, especially for folks that had come out of the AIDS crisis, and had moved from really homophobic places, like it was for me and my brother.”\u003c/p>\n\u003cp>Herrera says Heklina influenced a generation of artists — both drag performers and others like him who’ve gone on to make an impact in other fields. “I think a lot of us always strived to get her approval because it was really hard to. But once you got one of her deep cackles, you knew you had done something right.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>News of Heklina’s passing devastated the drag community in San Francisco and beyond. “I kept thinking it was an April Fool’s joke, it doesn’t make sense. I spoke to her the day before yesterday when she was heading to England from Iceland,” Oasis owner D’Arcy Drollinger told the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/drag-performer-heklina-reported-dead-in-london\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a>. “But it is confirmed, it is real.”\u003c/p>\n\u003cp>By Monday afternoon, a tearful crowd gathered for an informal memorial at Oasis, which Heklina co-owned until 2019. “She was a powerhouse. And she also had a soft side, and a vulnerable side, that I was lucky enough to get to know,” booking manager Carissa Hatchel, who performs as Snaxx, told KQED. “She was a very complicated person, and was very, very important to so many people in the community for so many decades now.”\u003c/p>\n\u003cp>“I started drag about eight years ago, and Heklina was one of the first queens I ever saw,” said Oasis performer Nicki Jizz. “She was unfiltered, she was unapologetically Heklina. She said whatever came to her mind. She didn’t care what anyone thought — which is a great trait for a drag performer.”\u003c/p>\n\u003cp>In a statement, State Senator Scott Wiener said he first saw Heklina perform in the 1990s, and was “devastated” by the news.\u003c/p>\n\u003cp>“Heklina was an icon in the truest sense — funny, caring, outrageous, and brave,” Wiener wrote. “I’ve rarely worked with someone as fierce, creative, and dedicated. … She was the soul of San Francisco, and it’s hard to imagine the city without her.”\u003c/p>\n\u003cp>Herrera echoed the sentiments of many on Monday that Heklina was synonymous with the best of drag tradition.\u003c/p>\n\u003cp>“A successful artist embodies their medium, so when we think of a brush or an instrument, we think of their name,” he said. “And I think for many of us, when we hear drag, we’re going to think of Heklina. She embodied the oldest and most powerful kind of drag that was about survival and political freedom, and I think we’re all going to miss that very much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/author/scottshafer\">Scott Shafer\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Poets Keep Memories of Iraq Alive 20 Years After US Invasion",
"headTitle": "Poets Keep Memories of Iraq Alive 20 Years After US Invasion | KQED",
"content": "\u003cp>The first time Zêdan Xelef saw United States soldiers, they were 8 years old. It was 2003 – the start of the U.S. war in Iraq.\u003c/p>\n\u003cp>“We would run behind their tanks and they would give us cookies and things like that. But I also knew they were killing other people elsewhere,” said Xelef.\u003c/p>\n\u003cp>Xelef is from the Sinjar District in Iraq, and they’re \u003ca href=\"https://www.britannica.com/topic/Yazidi\">Êzîdî\u003c/a>, one of the country’s religious and ethnic minorities. Once the war began, life destabilized in their region. They describe it as more of a civil war. They say fighting broke out between Muslims and Êzîdîs in their village and their family was forced to move to a Êzîdî-only village.[pullquote size=\"medium\" align=\"right\" citation=\"Zêdan Xelef, poet and student, San Francisco State University\"]‘All of these memory deposits that were attacked — my work is concerned with memory. Memory of the land, memory of the people, and my personal memory.’[/pullquote]\u003c/p>\n\u003cp>“For us, the terrorist attacks and the kidnappings were very common,” said Xelef.\u003c/p>\n\u003cp>This week marks 20 years since the war in Iraq began on March 19, 2003, and the ways of counting its costs are numerous. The war is estimated to have \u003ca href=\"https://sgp.fas.org/crs/natsec/RL33110.pdf\">cost the United States more than $800 billion\u003c/a>, and \u003ca href=\"https://watson.brown.edu/costsofwar/costs/human/civilians/iraqi\">hundreds of thousands of Iraqis are estimated to have died\u003c/a> because of the conflict.\u003c/p>\n\u003cfigure id=\"attachment_13926148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926148 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-800x532.jpg\" alt=\"Five people sit together inside a neat room, with high ceilings and light yellow-painted walls, in a semi-circle indoors facing a man with glasses and tan shirt. A bay window with a piano sits just beyond them.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet and translator Zêdan Xelef, 28, performs some of their work at a gathering at the Persian Center in Berkeley, during a poetry reading to remember the 2007 bombing of Al-Mutanabbi Street in Baghdad, on March 5, 2023. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a poetry reading earlier this month in Berkeley, a collective gathered to remember a different kind of loss – one to the memory and culture of Iraq.\u003c/p>\n\u003ch3>The bombing of Al-Mutanabbi Street\u003c/h3>\n\u003cp>On March 5, 2007, a car bomb exploded on Baghdad’s historic Al-Mutanabbi Street, known as the street of the booksellers. Over 30 people were killed and more than 100 were injured. The reverberations rang around the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beau Beausoleil, a former bookseller and poet based in San Francisco, remembers the day.\u003c/p>\n\u003cp>“If I was an Iraqi, that’s where my bookstore would’ve been. And as a poet, that would be my cultural community that had been attacked,” said Beausoleil.\u003c/p>\n\u003cp>In the days after the attack, Beausoleil organized a literary response. It took the form of an anthology of prose and poetry commemorating and reflecting on the tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13926147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-800x532.jpg\" alt=\"A man wearing glasses and a dark shirt stands next to a door.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Beau Beausoleil, who co-edited ‘Al-Mutanabbi Street Starts Here,’ stands for a portrait at the Persian Center in Berkeley, on March 5, 2023. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The final product was the anthology \u003cem>\u003ca href=\"https://www.facebook.com/groups/85909663901/\">Al-Mutanabbi Street Starts Here\u003c/a>\u003c/em>, published in 2013, that Beausoleil co-edited with Kuwaiti-born poet Deema Shehabi.\u003c/p>\n\u003cp>“I like to say that wherever someone sits down and picks up a book to read or sits and begins to write towards the truth, it is there that Al-Mutanabbi Street starts,” said Beausoleil.\u003c/p>\n\u003cp>The reading at the Persian Center in Berkeley was one of more than 15 taking place on that day worldwide commemorating the attack on Al-Mutanabbi Street.\u003c/p>\n\u003cp>“This was more than just a car bombing in a place where we were involved in a war,” said Persis Karim, a member of the Al-Mutanabbi Street Starts Here collective, who helped organize the reading in Berkeley. “It was an attack on culture, an attack on ideas, an attack on freedom of speech, and it represented the sort of the worst aspects of what happens in war and occupation and invasions by other countries.”\u003c/p>\n\u003ch3>Reflecting on the war\u003c/h3>\n\u003cp>In front of an audience of few more than two dozen, Xelef recited a song their grandmother, who was a farmer, used to sing before going out to harvest in the fields. Xelef sang the brief verses, almost like a prayer, in their native tongue, Kurmanji, a northern dialect of Kurdish.\u003c/p>\n\u003cp>“The song is about one morning when the villagers go to harvest from the land. It’s springtime and there is fog. The villagers are like happy animals because of the green pastures, and the song depicts a scenery of dancing animals like deers and goats,” explained Xelef.\u003c/p>\n\u003cp>As Xelef got older, memories like these became increasingly under attack. In 2007, a car bomb destroyed an Êzîdî oral history archive, containing recordings of the very songs their grandmother would sing.\u003c/p>\n\u003cfigure id=\"attachment_13926144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-800x532.jpg\" alt=\"A woman wearing a multicolored scarf and pink shirt stands behind an art piece.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco State University professor Persis Karim, 60, stands for a portrait at the Persian Center in Berkeley, on March 5, 2023. ‘I’m just a person who doesn’t want us to forget what has happened,’ she said. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, in August 2014, the Islamic State of Iraq and Syria, or ISIS, took control of the Sinjar District. It’s estimated that in a matter of days, over \u003ca href=\"https://journals.plos.org/plosmedicine/article?id=10.1371/journal.pmed.1002297\">3,000 Êzîdîs were either killed or died of starvation, thirst or injuries while another 6,000 were kidnapped\u003c/a>.\u003c/p>\n\u003cp>Xelef was among the many Êzîdîs who fled to the slopes of nearby Mount Sinjar looking for safety from ISIS.\u003c/p>\n\u003cp>“I was trapped on the mountain because the entire region was controlled by ISIS. But not the mountain itself,” recalled Xelef. “We would get attacked from ISIS every day for a week. We made it to the top of the mountain and they told us that President Barack Obama announced an international coalition against ISIS, and the coalition was able to open a passage for the people who were besieged on the mountain.”\u003c/p>\n\u003cp>Xelef was able to make it to a refugee camp for the internally displaced on the Turkey-Syria-Iraq border, and reunite with some members of their family. But, they say, not everyone made it.\u003c/p>\n\u003cp>“I did lose my grandmother, but she wasn’t killed by ISIS,” they said. “She died of thirst on the mountain.”\u003c/p>\n\u003cp>Eventually, Xelef got a job at the American University of Iraq, Sulaimani. They moved to Oakland a year ago, and they are currently pursuing a master’s in fine arts in poetry at San Francisco State University. They’re also working to preserve the Êzîdî oral histories like the ones their grandmother taught them.\u003c/p>\n\u003cp>They say they believe the war, with all of its attacks, be it the looting of Iraq’s National Museum in 2003, or the destruction of the Êzîdî cassette tape archive in 2007, or the attack on the book market on Al-Mutanabbi Street, was an attack on memory and imagination.\u003c/p>\n\u003cp>“All of these memory deposits that were attacked — my work is concerned with memory. Memory of the land, memory of the people, and my personal memory,” said Xelef.\u003c/p>\n\u003cfigure id=\"attachment_13926146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926146\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-800x532.jpg\" alt=\"A woman wearing a pink jacket and dark coat stands outside.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rana Alshalyan, 43, stands for a portrait outside the Persian Center in Berkeley. Alshalyan used to live in Basra, Iraq, and now works in education in Oakland. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rana Alshalyan, from Basra, Iraq, says the war is regrettable.\u003c/p>\n\u003cp>“We wish that it never happened. If we wanted change, it’s supposed to be from the inside. Not from the outside. But it was hard,” said Alshalyan. “Saddam Hussein was a dictator who killed his own people. Nobody thought his regime would be changed someday. So they thought the American government might help the Iraqis. But, that was just stupid.”\u003c/p>\n\u003cp>As the United States marks 20 years since it began the war in Iraq, projects like the Al-Mutanabbi Street Starts Here collective are working to identify the toll it inflicted on the country — not just in dollars or lives, but in ways harder to quantify.\u003c/p>\n\u003cp>Beausoleil, co-editor of \u003cem>Al-Mutanabbi Street Starts Here\u003c/em>, says the book and its annual readings are not a project of healing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My feeling is you cannot heal the wounds until you identify all the wounds. And all the wounds we have left on the body of Iraq both literally and metaphorically will be coming to the surface for generations,” he said.\u003c/p>\n\n",
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"excerpt": "Zêdan Xelef, a poet from the Sinjar district in Iraq, reflects on their memories, culture and what was lost during the US invasion of Iraq. This week marks 20 years since the war in Iraq began on March 19, 2003.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time Zêdan Xelef saw United States soldiers, they were 8 years old. It was 2003 – the start of the U.S. war in Iraq.\u003c/p>\n\u003cp>“We would run behind their tanks and they would give us cookies and things like that. But I also knew they were killing other people elsewhere,” said Xelef.\u003c/p>\n\u003cp>Xelef is from the Sinjar District in Iraq, and they’re \u003ca href=\"https://www.britannica.com/topic/Yazidi\">Êzîdî\u003c/a>, one of the country’s religious and ethnic minorities. Once the war began, life destabilized in their region. They describe it as more of a civil war. They say fighting broke out between Muslims and Êzîdîs in their village and their family was forced to move to a Êzîdî-only village.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For us, the terrorist attacks and the kidnappings were very common,” said Xelef.\u003c/p>\n\u003cp>This week marks 20 years since the war in Iraq began on March 19, 2003, and the ways of counting its costs are numerous. The war is estimated to have \u003ca href=\"https://sgp.fas.org/crs/natsec/RL33110.pdf\">cost the United States more than $800 billion\u003c/a>, and \u003ca href=\"https://watson.brown.edu/costsofwar/costs/human/civilians/iraqi\">hundreds of thousands of Iraqis are estimated to have died\u003c/a> because of the conflict.\u003c/p>\n\u003cfigure id=\"attachment_13926148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926148 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-800x532.jpg\" alt=\"Five people sit together inside a neat room, with high ceilings and light yellow-painted walls, in a semi-circle indoors facing a man with glasses and tan shirt. A bay window with a piano sits just beyond them.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63545_03052023_iraqwaranniversary-441-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet and translator Zêdan Xelef, 28, performs some of their work at a gathering at the Persian Center in Berkeley, during a poetry reading to remember the 2007 bombing of Al-Mutanabbi Street in Baghdad, on March 5, 2023. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a poetry reading earlier this month in Berkeley, a collective gathered to remember a different kind of loss – one to the memory and culture of Iraq.\u003c/p>\n\u003ch3>The bombing of Al-Mutanabbi Street\u003c/h3>\n\u003cp>On March 5, 2007, a car bomb exploded on Baghdad’s historic Al-Mutanabbi Street, known as the street of the booksellers. Over 30 people were killed and more than 100 were injured. The reverberations rang around the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beau Beausoleil, a former bookseller and poet based in San Francisco, remembers the day.\u003c/p>\n\u003cp>“If I was an Iraqi, that’s where my bookstore would’ve been. And as a poet, that would be my cultural community that had been attacked,” said Beausoleil.\u003c/p>\n\u003cp>In the days after the attack, Beausoleil organized a literary response. It took the form of an anthology of prose and poetry commemorating and reflecting on the tragedy.\u003c/p>\n\u003cfigure id=\"attachment_13926147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926147\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-800x532.jpg\" alt=\"A man wearing glasses and a dark shirt stands next to a door.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63548_03052023_iraqwaranniversary-475-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Beau Beausoleil, who co-edited ‘Al-Mutanabbi Street Starts Here,’ stands for a portrait at the Persian Center in Berkeley, on March 5, 2023. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The final product was the anthology \u003cem>\u003ca href=\"https://www.facebook.com/groups/85909663901/\">Al-Mutanabbi Street Starts Here\u003c/a>\u003c/em>, published in 2013, that Beausoleil co-edited with Kuwaiti-born poet Deema Shehabi.\u003c/p>\n\u003cp>“I like to say that wherever someone sits down and picks up a book to read or sits and begins to write towards the truth, it is there that Al-Mutanabbi Street starts,” said Beausoleil.\u003c/p>\n\u003cp>The reading at the Persian Center in Berkeley was one of more than 15 taking place on that day worldwide commemorating the attack on Al-Mutanabbi Street.\u003c/p>\n\u003cp>“This was more than just a car bombing in a place where we were involved in a war,” said Persis Karim, a member of the Al-Mutanabbi Street Starts Here collective, who helped organize the reading in Berkeley. “It was an attack on culture, an attack on ideas, an attack on freedom of speech, and it represented the sort of the worst aspects of what happens in war and occupation and invasions by other countries.”\u003c/p>\n\u003ch3>Reflecting on the war\u003c/h3>\n\u003cp>In front of an audience of few more than two dozen, Xelef recited a song their grandmother, who was a farmer, used to sing before going out to harvest in the fields. Xelef sang the brief verses, almost like a prayer, in their native tongue, Kurmanji, a northern dialect of Kurdish.\u003c/p>\n\u003cp>“The song is about one morning when the villagers go to harvest from the land. It’s springtime and there is fog. The villagers are like happy animals because of the green pastures, and the song depicts a scenery of dancing animals like deers and goats,” explained Xelef.\u003c/p>\n\u003cp>As Xelef got older, memories like these became increasingly under attack. In 2007, a car bomb destroyed an Êzîdî oral history archive, containing recordings of the very songs their grandmother would sing.\u003c/p>\n\u003cfigure id=\"attachment_13926144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-800x532.jpg\" alt=\"A woman wearing a multicolored scarf and pink shirt stands behind an art piece.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63533_03052023_iraqwaranniversary-109-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco State University professor Persis Karim, 60, stands for a portrait at the Persian Center in Berkeley, on March 5, 2023. ‘I’m just a person who doesn’t want us to forget what has happened,’ she said. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, in August 2014, the Islamic State of Iraq and Syria, or ISIS, took control of the Sinjar District. It’s estimated that in a matter of days, over \u003ca href=\"https://journals.plos.org/plosmedicine/article?id=10.1371/journal.pmed.1002297\">3,000 Êzîdîs were either killed or died of starvation, thirst or injuries while another 6,000 were kidnapped\u003c/a>.\u003c/p>\n\u003cp>Xelef was among the many Êzîdîs who fled to the slopes of nearby Mount Sinjar looking for safety from ISIS.\u003c/p>\n\u003cp>“I was trapped on the mountain because the entire region was controlled by ISIS. But not the mountain itself,” recalled Xelef. “We would get attacked from ISIS every day for a week. We made it to the top of the mountain and they told us that President Barack Obama announced an international coalition against ISIS, and the coalition was able to open a passage for the people who were besieged on the mountain.”\u003c/p>\n\u003cp>Xelef was able to make it to a refugee camp for the internally displaced on the Turkey-Syria-Iraq border, and reunite with some members of their family. But, they say, not everyone made it.\u003c/p>\n\u003cp>“I did lose my grandmother, but she wasn’t killed by ISIS,” they said. “She died of thirst on the mountain.”\u003c/p>\n\u003cp>Eventually, Xelef got a job at the American University of Iraq, Sulaimani. They moved to Oakland a year ago, and they are currently pursuing a master’s in fine arts in poetry at San Francisco State University. They’re also working to preserve the Êzîdî oral histories like the ones their grandmother taught them.\u003c/p>\n\u003cp>They say they believe the war, with all of its attacks, be it the looting of Iraq’s National Museum in 2003, or the destruction of the Êzîdî cassette tape archive in 2007, or the attack on the book market on Al-Mutanabbi Street, was an attack on memory and imagination.\u003c/p>\n\u003cp>“All of these memory deposits that were attacked — my work is concerned with memory. Memory of the land, memory of the people, and my personal memory,” said Xelef.\u003c/p>\n\u003cfigure id=\"attachment_13926146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926146\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-800x532.jpg\" alt=\"A woman wearing a pink jacket and dark coat stands outside.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63547_03052023_iraqwaranniversary-413-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rana Alshalyan, 43, stands for a portrait outside the Persian Center in Berkeley. Alshalyan used to live in Basra, Iraq, and now works in education in Oakland. \u003ccite>(Kori Suzuki/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rana Alshalyan, from Basra, Iraq, says the war is regrettable.\u003c/p>\n\u003cp>“We wish that it never happened. If we wanted change, it’s supposed to be from the inside. Not from the outside. But it was hard,” said Alshalyan. “Saddam Hussein was a dictator who killed his own people. Nobody thought his regime would be changed someday. So they thought the American government might help the Iraqis. But, that was just stupid.”\u003c/p>\n\u003cp>As the United States marks 20 years since it began the war in Iraq, projects like the Al-Mutanabbi Street Starts Here collective are working to identify the toll it inflicted on the country — not just in dollars or lives, but in ways harder to quantify.\u003c/p>\n\u003cp>Beausoleil, co-editor of \u003cem>Al-Mutanabbi Street Starts Here\u003c/em>, says the book and its annual readings are not a project of healing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My feeling is you cannot heal the wounds until you identify all the wounds. And all the wounds we have left on the body of Iraq both literally and metaphorically will be coming to the surface for generations,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Outside Lands Lineup: Kendrick Lamar, Lana Del Rey, Megan Thee Stallion, Foo Fighters and More",
"headTitle": "Outside Lands Lineup: Kendrick Lamar, Lana Del Rey, Megan Thee Stallion, Foo Fighters and More | KQED",
"content": "\u003cp>Now in its 15th year, the \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> music festival returns Aug. 11-13 with headliners Kendrick Lamar, Foo Fighters, Lana Del Rey, Megan Thee Stallion and more. \u003c/p>\n\u003cp>The beloved Bay Area event features multiple stages, tents and booths with an eclectic lineup that ranges from energetic alternative rock and heartracing EDM sets to soulful rap and wistful R&B vocal performances. The lineup, announced today, also includes rappers J.I.D. and Zack Fox, alternative bands Cigarettes After Sex and Inhaler, genre-blending musicians Lil Yachty and Alex G as well as South Korean girl group Aespa and indie acts Alvvays, Soccer Mommy and Grace Ives. \u003c/p>\n\u003cp>Three-day passes for the festival start at $499 plus fees, and go on sale Wednesday, March 8, at 10 a.m. \u003ca href=\"https://www.sfoutsidelands.com/tickets/\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg\" alt=\"Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"523\" class=\"size-medium wp-image-11911968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-960x627.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Full lineup: \u003c/h2>\n\u003cp>Kendrick Lamar\u003cbr>\nFoo Fighters\u003cbr>\nODESZA\u003cbr>\nLana Del Rey\u003cbr>\nThe 1975\u003cbr>\nMegan Thee Stallion\u003cbr>\nZedd\u003cbr>\nJanelle Monáe\u003cbr>\nMaggie Rogers\u003cbr>\nFISHER\u003cbr>\nLil Yachty\u003cbr>\nNoah Kahan\u003cbr>\nCigarettes After Sex\u003cbr>\nJ.I.D.\u003cbr>\nInterpol\u003cbr>\nWillow\u003cbr>\nFather John Misty\u003cbr>\nTobe Nwigwe\u003cbr>\nOrville Peck\u003cbr>\nAespa\u003cbr>\nbeabadoobee\u003cbr>\nL’Impératrice\u003cbr>\nCuco\u003cbr>\nNore En Pure\u003cbr>\nPoolside\u003cbr>\nAlvvays\u003cbr>\nNIKI\u003cbr>\nAlex G\u003cbr>\nSoccer Mommy\u003cbr>\nDiesel (Shaquille O’Neal)\u003cbr>\nMonolink\u003cbr>\nRaveena\u003cbr>\nTrixie Mattel\u003cbr>\nMariah The Scientist\u003cbr>\nISOxo\u003cbr>\nHolly Humberstone\u003cbr>\nLovejoy\u003cbr>\nBecky Hill\u003cbr>\nJoy Oladokun\u003cbr>\nJessie Murph\u003cbr>\nInhaler\u003cbr>\nCrumb\u003cbr>\nDope Lemon\u003cbr>\nGabriels\u003cbr>\nEthel Cain\u003cbr>\nZack Fox\u003cbr>\nCobra Man\u003cbr>\nSamia\u003cbr>\nTops\u003cbr>\nOrion Sun\u003cbr>\nThe Jungle Giants\u003cbr>\nMild Mind\u003cbr>\nYaya Bey\u003cbr>\nNation of Language\u003cbr>\nDonny Benét\u003cbr>\nEvan Giia\u003cbr>\nManila Grey\u003cbr>\nNanna\u003cbr>\nThe Dip\u003cbr>\nEddie Zuko\u003cbr>\nWild Child\u003cbr>\nNo Vacation\u003cbr>\nPretty Sick\u003cbr>\nGrace Ives\u003cbr>\nWestend\u003cbr>\nmidwxst\u003cbr>\nWednesday\u003cbr>\nUpsahl\u003cbr>\nIzzy Heltai\u003cbr>\nFake Fruit\u003cbr>\nVenus & The Flytraps \u003c/p>\n\u003cp>\u003cstrong>In the SOMA Tent:\u003c/strong>\u003cbr>\nAme b2b Trikk\u003cbr>\nBlond:ish\u003cbr>\nClaptone\u003cbr>\nCoco & Breezy\u003cbr>\nDaniel Avery\u003cbr>\nDenis Sulta\u003cbr>\nDisco Lines\u003cbr>\nEREZ\u003cbr>\nJustin Jay\u003cbr>\nKim Ann Foxman\u003cbr>\nLoverground\u003cbr>\nMISS DRE\u003cbr>\nNala\u003cbr>\nRed Axes\u003cbr>\nSama AbdulHadi\u003cbr>\nTinlicker\u003cbr>\nVNSSA\u003cbr>\nWhoMadeWho \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Janelle Monae, The 1975, J.I.D, Zack Fox, Lil Yachty, Aespa , Alvvays, Maggie Rogers, Alex G and more round out the Outside Lands lineup. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 15th year, the \u003ca href=\"https://www.sfoutsidelands.com/\">Outside Lands\u003c/a> music festival returns Aug. 11-13 with headliners Kendrick Lamar, Foo Fighters, Lana Del Rey, Megan Thee Stallion and more. \u003c/p>\n\u003cp>The beloved Bay Area event features multiple stages, tents and booths with an eclectic lineup that ranges from energetic alternative rock and heartracing EDM sets to soulful rap and wistful R&B vocal performances. The lineup, announced today, also includes rappers J.I.D. and Zack Fox, alternative bands Cigarettes After Sex and Inhaler, genre-blending musicians Lil Yachty and Alex G as well as South Korean girl group Aespa and indie acts Alvvays, Soccer Mommy and Grace Ives. \u003c/p>\n\u003cp>Three-day passes for the festival start at $499 plus fees, and go on sale Wednesday, March 8, at 10 a.m. \u003ca href=\"https://www.sfoutsidelands.com/tickets/\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11911968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg\" alt=\"Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park.\" width=\"800\" height=\"523\" class=\"size-medium wp-image-11911968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-800x523.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-768x502.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Lana-Del-Ray-02-960x627.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lana del Rey performs at the 2016 Outside Lands Festival in Golden Gate Park. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Full lineup: \u003c/h2>\n\u003cp>Kendrick Lamar\u003cbr>\nFoo Fighters\u003cbr>\nODESZA\u003cbr>\nLana Del Rey\u003cbr>\nThe 1975\u003cbr>\nMegan Thee Stallion\u003cbr>\nZedd\u003cbr>\nJanelle Monáe\u003cbr>\nMaggie Rogers\u003cbr>\nFISHER\u003cbr>\nLil Yachty\u003cbr>\nNoah Kahan\u003cbr>\nCigarettes After Sex\u003cbr>\nJ.I.D.\u003cbr>\nInterpol\u003cbr>\nWillow\u003cbr>\nFather John Misty\u003cbr>\nTobe Nwigwe\u003cbr>\nOrville Peck\u003cbr>\nAespa\u003cbr>\nbeabadoobee\u003cbr>\nL’Impératrice\u003cbr>\nCuco\u003cbr>\nNore En Pure\u003cbr>\nPoolside\u003cbr>\nAlvvays\u003cbr>\nNIKI\u003cbr>\nAlex G\u003cbr>\nSoccer Mommy\u003cbr>\nDiesel (Shaquille O’Neal)\u003cbr>\nMonolink\u003cbr>\nRaveena\u003cbr>\nTrixie Mattel\u003cbr>\nMariah The Scientist\u003cbr>\nISOxo\u003cbr>\nHolly Humberstone\u003cbr>\nLovejoy\u003cbr>\nBecky Hill\u003cbr>\nJoy Oladokun\u003cbr>\nJessie Murph\u003cbr>\nInhaler\u003cbr>\nCrumb\u003cbr>\nDope Lemon\u003cbr>\nGabriels\u003cbr>\nEthel Cain\u003cbr>\nZack Fox\u003cbr>\nCobra Man\u003cbr>\nSamia\u003cbr>\nTops\u003cbr>\nOrion Sun\u003cbr>\nThe Jungle Giants\u003cbr>\nMild Mind\u003cbr>\nYaya Bey\u003cbr>\nNation of Language\u003cbr>\nDonny Benét\u003cbr>\nEvan Giia\u003cbr>\nManila Grey\u003cbr>\nNanna\u003cbr>\nThe Dip\u003cbr>\nEddie Zuko\u003cbr>\nWild Child\u003cbr>\nNo Vacation\u003cbr>\nPretty Sick\u003cbr>\nGrace Ives\u003cbr>\nWestend\u003cbr>\nmidwxst\u003cbr>\nWednesday\u003cbr>\nUpsahl\u003cbr>\nIzzy Heltai\u003cbr>\nFake Fruit\u003cbr>\nVenus & The Flytraps \u003c/p>\n\u003cp>\u003cstrong>In the SOMA Tent:\u003c/strong>\u003cbr>\nAme b2b Trikk\u003cbr>\nBlond:ish\u003cbr>\nClaptone\u003cbr>\nCoco & Breezy\u003cbr>\nDaniel Avery\u003cbr>\nDenis Sulta\u003cbr>\nDisco Lines\u003cbr>\nEREZ\u003cbr>\nJustin Jay\u003cbr>\nKim Ann Foxman\u003cbr>\nLoverground\u003cbr>\nMISS DRE\u003cbr>\nNala\u003cbr>\nRed Axes\u003cbr>\nSama AbdulHadi\u003cbr>\nTinlicker\u003cbr>\nVNSSA\u003cbr>\nWhoMadeWho \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Art on BART Reminds Us We All Can Help End Domestic Violence",
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"content": "\u003cp>If you’ve taken BART or Muni in San Francisco or Oakland over the past week, you might have noticed the affirming messages on station walls, billboards and bus shelters in Tagalog, Spanish, Chinese and English.\u003c/p>\n\u003cp>“Love shouldn’t hurt,” reads a poster featuring an illustration of a mother kissing her smiling daughter on the forehead. “Be the friend who brings it up,” reads another depicting two friends holding each other in an emotional embrace. Colorful spring flowers surround the figures, inviting feelings of renewed hopefulness and warmth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.alonglastname.com/\" target=\"_blank\" rel=\"noopener\">Amanda Phingbodhipakkiya\u003c/a> created these artworks for a new domestic violence awareness campaign in partnership with Asian Women’s Shelter and BART, \u003cem>\u003ca href=\"https://www.letstalkaboutus.org/\" target=\"_blank\" rel=\"noopener\">Let’s Talk About Us\u003c/a>\u003c/em>. Rather than positioning abuse as a private issue between partners or family members, Phingbodhipakkiya takes a different approach: calling on the public to foster more nurturing relationships and address violence in our communities.\u003c/p>\n\u003cp>“Through art, we just boldly say that domestic violence prevention is a shared responsibility, and that really everyone has a role,” Phingbodhipakkiya tells KQED.\u003c/p>\n\u003cfigure id=\"attachment_13925495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925495\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_.jpg 1555w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Amanda Phingbodhipakkiya hugs Justine Choy of Hella Heart Oakland at the press conference for ‘Let’s Talk About Us’ on Feb. 15 at Powell Street BART Station. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Georgia to Thai and Indonesian parents, Phingbodhipakkiya is currently in a civic practice artist residency with San Francisco’s Asian Art Museum. The Brooklyn-based artist works across mediums — murals, textiles, sculptures, public art campaigns and participatory installations — with the intention of “invoking joy and belonging in the face of grief and injustice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And I think my work dares us to imagine shared futures that redefine inherited narratives,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfaws.org/\">Asian Women’s Shelter\u003c/a> — a 35-year-old San Francisco organization that offers emergency shelter, case management, a crisis line and other services in multiple languages — approached Phingbodhipakkiya to collaborate after seeing her 2020 public art campaign in New York. Titled \u003ca href=\"https://www.nyc.gov/site/cchr/media/pair-believe.page\">\u003cem>I Still Believe in Our City\u003c/em>\u003c/a>, her billboards — placed on subways and in prominent locations like Times Square — depicted Asian Americans standing up against COVID scapegoating and xenophobia. An outtake from \u003cem>I Still Believe in Our City\u003c/em> even landed on a \u003ca href=\"https://time.com/5947622/time-cover-anti-asian-american-violence-atlanta-shooting/\" target=\"_blank\" rel=\"noopener\">March 2021 cover of \u003ci>TIME\u003c/i> magazine\u003c/a>, accompanying a feature about the United States’ legacy of anti-Asian violence.\u003c/p>\n\u003cp>When Asian Women’s Shelter invited Phingbodhipakkiya to collaborate, the artist didn’t just get to work behind her desktop in New York — she came to San Francisco and conducted deep listening sessions with the shelter’s multicultural, multilingual staff. Some of their insights took her creative process to places she didn’t expect.\u003c/p>\n\u003cp>“I kept on hearing stories of fraught relationships between Asian mothers and daughters and how that is filled with tension,” she says. “I wanted to honor those stories, because I think mental health is something that is still quite stigmatized within AAPI communities. And oftentimes when mental health isn’t addressed, it can manifest as harm against the ones that we love.”\u003c/p>\n\u003cfigure id=\"attachment_13925486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/respect-BART-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces from Amanda Phingbodhipakkiya and Asian Women’s Shelter’s ‘Let’s Talk About Us’ campaign are on view at over a dozen BART stations, aboard trains, at bus shelters and on billboards in San Francisco neighborhoods such as SoMa, Chinatown and the Mission. \u003ccite>(Florence Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other images for the campaign feature a family looking hopefully towards the future with the words “Everyone Deserves Respect,” and a woman making strong eye contact with the viewer while imploring, “Just Listen.” A joyous, collage-like assembly of babies, fathers, grandmothers and other loved ones reminds us: “Our Community Our Responsibility.” Each poster accompanies a QR code that takes viewers to \u003ca href=\"https://www.letstalkaboutus.org/art-campaign\" target=\"_blank\" rel=\"noopener\">resources from Asian Women’s Shelter\u003c/a>. [aside postid='arts_13918908,arts_13925416']\u003c/p>\n\u003cp>“One of the things I appreciate most about Asian Women’s Shelter is that when we support survivors, there’s no judgment towards the survivors, not even towards the abusers,” said Saara Ahmed, community resource coordinator at Asian Women’s Shelter, at the Feb. 15 press conference for \u003cem>Let’s Talk About Us\u003c/em> at the Powell Street BART Station. “At AWS, we recognize that each and every one of us is capable of screwing up, of making mistakes and causing harm. It doesn’t make us bad people. But if we accept that harm as a norm, if we accept the normalcy of violence and refuse to change, it’s bound to repeat itself over and over again.”\u003c/p>\n\u003cp>In light of mass shootings that shook Asian communities in Monterey Park and Half Moon Bay in January, Phingbodhipakkiya and Asian Women’s Shelter want to emphasize the connection between intimate forms of abuse and large-scale violence. “When over \u003ca href=\"https://efsgv.org/press/study-two-thirds-of-mass-shootings-linked-to-domestic-violence/\">60% of mass shooters have had a history of domestic violence\u003c/a>, it’s hard not to wonder how many people have accepted that individual’s bad behavior before,” Ahmed continued.\u003c/p>\n\u003cfigure id=\"attachment_13925494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925494\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/0N0A8390-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/0N0A8390.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters from ‘Let’s Talk About Us’ at Powell Street BART Station. \u003ccite>(Katie Thyken)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By encouraging difficult conversations and pointing people to experts who can help, \u003cem>Let’s Talk About Us\u003c/em> aims to foster the kind of frank, compassionate discussions needed to make change.\u003c/p>\n\u003cp>Now that \u003cem>Let’s Talk About Us\u003c/em> has gone up, Phingbodhipakkiya’s work in the Bay Area is not over. As part of her Asian Art Museum residency, the artist is currently working on an archive of AAPI stories called \u003cem>Let the Future Speak\u003c/em>, where she’s interviewing local Asian and Asian American residents from ages five to 95. Much like the public art campaign, it falls in line with her hopeful vision of art as a means of imagining a better future.\u003c/p>\n\u003cp>“I’ve been asking people to reflect on their inheritance — so their pasts, their histories,” Phingbodhipakkiya says, “and also thinking about how the past shapes their present, and how it can seed our shared futures.”\u003c/p>\n\u003cp>\u003cem>Kristie Song contributed reporting to this story. \u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.letstalkaboutus.org/\">Let’s Talk About Us\u003c/a>‘ is on view at over a dozen BART stations in San Francisco and Oakland, aboard trains and on Muni bus shelters and billboards in San Francisco neighborhoods such as SoMa, the Mission and Chinatown. Learn more about \u003ca href=\"https://www.sfaws.org/resources\">Asian Women’s Shelter’s resources here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve taken BART or Muni in San Francisco or Oakland over the past week, you might have noticed the affirming messages on station walls, billboards and bus shelters in Tagalog, Spanish, Chinese and English.\u003c/p>\n\u003cp>“Love shouldn’t hurt,” reads a poster featuring an illustration of a mother kissing her smiling daughter on the forehead. “Be the friend who brings it up,” reads another depicting two friends holding each other in an emotional embrace. Colorful spring flowers surround the figures, inviting feelings of renewed hopefulness and warmth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.alonglastname.com/\" target=\"_blank\" rel=\"noopener\">Amanda Phingbodhipakkiya\u003c/a> created these artworks for a new domestic violence awareness campaign in partnership with Asian Women’s Shelter and BART, \u003cem>\u003ca href=\"https://www.letstalkaboutus.org/\" target=\"_blank\" rel=\"noopener\">Let’s Talk About Us\u003c/a>\u003c/em>. Rather than positioning abuse as a private issue between partners or family members, Phingbodhipakkiya takes a different approach: calling on the public to foster more nurturing relationships and address violence in our communities.\u003c/p>\n\u003cp>“Through art, we just boldly say that domestic violence prevention is a shared responsibility, and that really everyone has a role,” Phingbodhipakkiya tells KQED.\u003c/p>\n\u003cfigure id=\"attachment_13925495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925495\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg\" alt=\"\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1020x685.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_-1536x1031.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/new-lets-talk-about-us-edited-6_.jpg 1555w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Amanda Phingbodhipakkiya hugs Justine Choy of Hella Heart Oakland at the press conference for ‘Let’s Talk About Us’ on Feb. 15 at Powell Street BART Station. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born in Georgia to Thai and Indonesian parents, Phingbodhipakkiya is currently in a civic practice artist residency with San Francisco’s Asian Art Museum. The Brooklyn-based artist works across mediums — murals, textiles, sculptures, public art campaigns and participatory installations — with the intention of “invoking joy and belonging in the face of grief and injustice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And I think my work dares us to imagine shared futures that redefine inherited narratives,” she says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfaws.org/\">Asian Women’s Shelter\u003c/a> — a 35-year-old San Francisco organization that offers emergency shelter, case management, a crisis line and other services in multiple languages — approached Phingbodhipakkiya to collaborate after seeing her 2020 public art campaign in New York. Titled \u003ca href=\"https://www.nyc.gov/site/cchr/media/pair-believe.page\">\u003cem>I Still Believe in Our City\u003c/em>\u003c/a>, her billboards — placed on subways and in prominent locations like Times Square — depicted Asian Americans standing up against COVID scapegoating and xenophobia. An outtake from \u003cem>I Still Believe in Our City\u003c/em> even landed on a \u003ca href=\"https://time.com/5947622/time-cover-anti-asian-american-violence-atlanta-shooting/\" target=\"_blank\" rel=\"noopener\">March 2021 cover of \u003ci>TIME\u003c/i> magazine\u003c/a>, accompanying a feature about the United States’ legacy of anti-Asian violence.\u003c/p>\n\u003cp>When Asian Women’s Shelter invited Phingbodhipakkiya to collaborate, the artist didn’t just get to work behind her desktop in New York — she came to San Francisco and conducted deep listening sessions with the shelter’s multicultural, multilingual staff. Some of their insights took her creative process to places she didn’t expect.\u003c/p>\n\u003cp>“I kept on hearing stories of fraught relationships between Asian mothers and daughters and how that is filled with tension,” she says. “I wanted to honor those stories, because I think mental health is something that is still quite stigmatized within AAPI communities. And oftentimes when mental health isn’t addressed, it can manifest as harm against the ones that we love.”\u003c/p>\n\u003cfigure id=\"attachment_13925486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/respect-BART-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/respect-BART.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pieces from Amanda Phingbodhipakkiya and Asian Women’s Shelter’s ‘Let’s Talk About Us’ campaign are on view at over a dozen BART stations, aboard trains, at bus shelters and on billboards in San Francisco neighborhoods such as SoMa, Chinatown and the Mission. \u003ccite>(Florence Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other images for the campaign feature a family looking hopefully towards the future with the words “Everyone Deserves Respect,” and a woman making strong eye contact with the viewer while imploring, “Just Listen.” A joyous, collage-like assembly of babies, fathers, grandmothers and other loved ones reminds us: “Our Community Our Responsibility.” Each poster accompanies a QR code that takes viewers to \u003ca href=\"https://www.letstalkaboutus.org/art-campaign\" target=\"_blank\" rel=\"noopener\">resources from Asian Women’s Shelter\u003c/a>. \u003c/p>\u003c/div>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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