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"content": "\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\n\u003cp>https://twitter.com/TheOtherGSP/status/1430539014692478980\u003c/p>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\n\u003cp>https://twitter.com/UpToTASK/status/1430549339676438529\u003c/p>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Bay Bridged, Longtime Local Music Site, Will Stop Publishing in October",
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"content": "\u003cp>\u003ca href=\"https://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Bridged\u003c/a> announced Tuesday that it will cease operations on Oct. 1 after 15 years of supporting the Bay Area’s music scene with its blog, podcast and events.\u003c/p>\n\u003cp>“From all of us at The Bay Bridged, we want to thank all of the great local musicians we had the pleasure to work with, all of our tremendously creative staff and contributors, and all of the listeners who helped us champion Bay Area music,” wrote co-founder and board president Christian Cunningham in a statement.\u003c/p>\n\u003cp>Cunningham and his co-founder Ben Van Houten started the website as roommates in 2006, during an era when blogs began to outpace magazines and newspapers as the premiere destinations for music discovery. Early adopters of podcasting, Van Houten and Cunningham primarily used the website to host audio interviews with local artists, recorded in their apartment.\u003c/p>\n\u003cp>After its first year, The Bay Bridged began to feature writing, and eventually evolved into a destination for artist profiles, music video premieres and show reviews. The publication also threw concerts and events, and started running the popular Phono Del Sol festival in San Francisco in 2011. (KQED Arts & Culture \u003ca href=\"https://www.kqed.org/author/baybridged\" target=\"_blank\" rel=\"noopener noreferrer\">published\u003c/a> The Bay Bridged podcast between 2014 and 2018.)\u003c/p>\n\u003cp>“We started off as two people interviewing bands because we were best friends who just wanted to be a part of something else besides what we were doing in our careers,” Cunningham says in an interview, adding that he was a PhD candidate at UCSF when they started the project, and Van Houten had just graduated from law school.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the years, The Bay Bridged went on to publish over 200 emerging writers, and developed a loyal following of omnivorous music fans eager for new sounds. The site often took chances on underground artists. Many of the acts they featured in the early stages of their careers—including The Dodos, Thee Oh Sees and Rogue Wave—rose to national acclaim, a testament to publication’s curatorial savvy.\u003c/p>\n\u003cp>“What we ended up becoming was a lot of bands’ first press opportunity,” says Cunningham. “For a lot of our writers, we’re their first time outside of school that gave them a few bylines that they could leverage to move on in their careers.”\u003c/p>\n\u003cp>https://twitter.com/apesontape/status/1430314992864088065?s=20\u003c/p>\n\u003cp>Jody Amable, content director at The Bay Bridged, says that a drop in advertising revenue during the pandemic was the tipping point in the decision to discontinue the site. “Basically, blame COVID, just like every other music enterprise that has had to close its doors,” says Amable, who occasionally contributes to KQED Arts & Culture as a freelancer.\u003c/p>\n\u003cp>Amable says that The Bay Bridged was already having trouble retaining readership after Facebook changed its algorithm to “pivot to video” in 2015, deprioritizing articles in its feed. In subsequent years, music listeners started gravitating to curated Spotify playlists instead of blogs to find new artists. “It became a much bigger priority for us to try to game the algorithm, and that was a challenge for us to figure out how to stay visible on social media, especially as a small nonprofit,” she says.\u003c/p>\n\u003cp>https://twitter.com/alyspereira/status/1430292686834073601?s=20\u003c/p>\n\u003cp>Cunningham says these weren’t the only factors: he’s a father now and has a full-time career as a principal scientist at Genentech. Van Houten works for San Francisco’s Office of Economic and Workforce Development as a business development manager in the nightlife and entertainment sector.\u003c/p>\n\u003cp>Most of the contributors have outside full-time jobs as well. And with artists and writers leaving the Bay Area to escape high rents, Cunningham couldn’t find a successor to take the reins, and decided it was time to make room for the next generation.\u003c/p>\n\u003cp>“While we had been waiting for someone to take over what we had done, we also started this because of our pure interest in trying to be part of a community. It hit us that we were able to create something we’re really proud of just from wanting to do it,” says Cunningham. “We hope this leave space for the next group to make what the community needs at that time.”\u003c/p>\n\u003cp>https://twitter.com/ayetalian/status/1430248041911627782?s=20\u003c/p>\n\u003cp>The Bay Bridged is only the latest local outlet to fold in recent years: a competitor bought and closed down \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2014-as-local-press-dwindled-who-held-the-powerful-to-account\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The San Francisco Bay Guardian\u003c/em>\u003c/a> in 2014; Art Practical stopped publishing in 2020; and SFMOMA recently announced that it’s \u003ca href=\"https://www.kqed.org/arts/13900144/sfmomas-cuts-to-film-other-programs-cause-widespread-outrage\" target=\"_blank\" rel=\"noopener noreferrer\">discontinuing its Open Space publication\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“From where we sit now, it’s very bittersweet for us personally—most of us literally bled, there was lots of sweat, plenty of tears,” says Cunningham, referring to a hand injury that still affects him from the first Phono Del Sol show. “But what we became confident in is there’s always going to be a next generation and the next big idea someone’s gonna have. It’s not our story now. We’re closing our chapter. While we’re sad, we’re still so excited for what the future holds.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://thebaybridged.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Bridged\u003c/a> announced Tuesday that it will cease operations on Oct. 1 after 15 years of supporting the Bay Area’s music scene with its blog, podcast and events.\u003c/p>\n\u003cp>“From all of us at The Bay Bridged, we want to thank all of the great local musicians we had the pleasure to work with, all of our tremendously creative staff and contributors, and all of the listeners who helped us champion Bay Area music,” wrote co-founder and board president Christian Cunningham in a statement.\u003c/p>\n\u003cp>Cunningham and his co-founder Ben Van Houten started the website as roommates in 2006, during an era when blogs began to outpace magazines and newspapers as the premiere destinations for music discovery. Early adopters of podcasting, Van Houten and Cunningham primarily used the website to host audio interviews with local artists, recorded in their apartment.\u003c/p>\n\u003cp>After its first year, The Bay Bridged began to feature writing, and eventually evolved into a destination for artist profiles, music video premieres and show reviews. The publication also threw concerts and events, and started running the popular Phono Del Sol festival in San Francisco in 2011. (KQED Arts & Culture \u003ca href=\"https://www.kqed.org/author/baybridged\" target=\"_blank\" rel=\"noopener noreferrer\">published\u003c/a> The Bay Bridged podcast between 2014 and 2018.)\u003c/p>\n\u003cp>“We started off as two people interviewing bands because we were best friends who just wanted to be a part of something else besides what we were doing in our careers,” Cunningham says in an interview, adding that he was a PhD candidate at UCSF when they started the project, and Van Houten had just graduated from law school.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Jody Amable, content director at The Bay Bridged, says that a drop in advertising revenue during the pandemic was the tipping point in the decision to discontinue the site. “Basically, blame COVID, just like every other music enterprise that has had to close its doors,” says Amable, who occasionally contributes to KQED Arts & Culture as a freelancer.\u003c/p>\n\u003cp>Amable says that The Bay Bridged was already having trouble retaining readership after Facebook changed its algorithm to “pivot to video” in 2015, deprioritizing articles in its feed. In subsequent years, music listeners started gravitating to curated Spotify playlists instead of blogs to find new artists. “It became a much bigger priority for us to try to game the algorithm, and that was a challenge for us to figure out how to stay visible on social media, especially as a small nonprofit,” she says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Cunningham says these weren’t the only factors: he’s a father now and has a full-time career as a principal scientist at Genentech. Van Houten works for San Francisco’s Office of Economic and Workforce Development as a business development manager in the nightlife and entertainment sector.\u003c/p>\n\u003cp>Most of the contributors have outside full-time jobs as well. And with artists and writers leaving the Bay Area to escape high rents, Cunningham couldn’t find a successor to take the reins, and decided it was time to make room for the next generation.\u003c/p>\n\u003cp>“While we had been waiting for someone to take over what we had done, we also started this because of our pure interest in trying to be part of a community. It hit us that we were able to create something we’re really proud of just from wanting to do it,” says Cunningham. “We hope this leave space for the next group to make what the community needs at that time.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Bay Bridged is only the latest local outlet to fold in recent years: a competitor bought and closed down \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2014-as-local-press-dwindled-who-held-the-powerful-to-account\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The San Francisco Bay Guardian\u003c/em>\u003c/a> in 2014; Art Practical stopped publishing in 2020; and SFMOMA recently announced that it’s \u003ca href=\"https://www.kqed.org/arts/13900144/sfmomas-cuts-to-film-other-programs-cause-widespread-outrage\" target=\"_blank\" rel=\"noopener noreferrer\">discontinuing its Open Space publication\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“From where we sit now, it’s very bittersweet for us personally—most of us literally bled, there was lots of sweat, plenty of tears,” says Cunningham, referring to a hand injury that still affects him from the first Phono Del Sol show. “But what we became confident in is there’s always going to be a next generation and the next big idea someone’s gonna have. It’s not our story now. We’re closing our chapter. While we’re sad, we’re still so excited for what the future holds.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Morgan, Visionary Oakland Symphony Conductor, Dies at Age 63",
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"content": "\u003cp>Michael Morgan, the longtime music director and conductor of the Oakland Symphony, died on Aug. 20 at age 63, his publicist announced today. He passed away at Kaiser Permanente hospital after being admitted last week for an infection, three months after undergoing a successful kidney transplant.\u003c/p>\n\u003cp>Morgan made his mark on the Oakland Symphony with his boundary-pushing programming and passion for education and outreach. Always one to make classical music accessible to new audiences, he invited comedian W. Kamau Bell and activist Dolores Huerta to curate “playlists” for the orchestra to perform, interjecting the canon with songs by John Coltrane and Jimi Hendrix.\u003c/p>\n\u003cp>As one of the few Black and openly gay conductors in the country, Morgan made inclusive programming standard at the Oakland Symphony—well before other orchestras began to grapple with racism in the wake of last year’s protests. His “Notes From…” concert series celebrated the music of Native American, Korean, Vietnamese and LGBTQ+ composers. And as the host of the \u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Currents\u003c/em>\u003c/a> video and podcast series from the San Francisco Symphony, he examined the cross-pollination of classical music with genres as varied as hip-hop and traditional Chinese music.\u003c/p>\n\u003cp>“Our primary question is ‘who’s not here?’ And we look around the room, and see who is not there,” Morgan told \u003ca href=\"https://oaklandside.org/2021/03/24/oakland-symphony-classical-music-race-social-justice-michael-morgan/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a> earlier this year, describing his vision.\u003c/p>\n\u003cp>One of Morgan’s last public appearances was as guest conductor of the San Francisco Symphony at Davies Symphony Hall on July 23. He led the orchestra through a performance of works by overlooked French composer Louise Farrenc and the 1920s jazz classic “Charleston” by James P. Johnson. “He’s made [the Oakland Symphony] a vibrant hotbed for innovative programming, combining a judicious helping of the standard repertoire with music from a wide array of less familiar sources—including, in recent seasons particularly, works by female composers who have too often been left out of the historical narrative,” wrote \u003cem>San Francisco Chronicle\u003c/em> music critic Joshua Kosman in his \u003ca href=\"https://datebook.sfchronicle.com/music/review-conductor-michael-morgan-jazzes-up-a-guest-appearance-with-s-f-symphony\" target=\"_blank\" rel=\"noopener noreferrer\">review\u003c/a> of the concert.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Morgan was born in Washington D.C. and began conducting at age 12. In addition to his duties with the Oakland Symphony, he also held the titles of artistic director of Oakland Symphony Youth Orchestra, music director at Bear Valley Music Festival and music director of Gateways Music Festival. He was music director emeritus of the Sacramento Philharmonic and Opera, and sat on the boards of Oaktown Jazz Workshops and the Purple Silk Music Education Foundation.\u003c/p>\n\u003cp>\u003cspan class=\"\">“This is a terribly sad moment for everyone in the Oakland Symphony family.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">We have lost our guiding father,” said executive director Mieko Hatano in a statement.\u003c/span> \u003cspan class=\"\">“Michael’s plans and ambitions were set for several seasons to come.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">He made his Orchestra socially authentic, demanded equality, and he made his Orchestra our orchestra.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">He fashioned a unique, informed artistic profile that attracted one of the most diverse audiences in the nation.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">His music reflected his beliefs:\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">reverence for the past, attuned to the future, rooted in his adopted home of Oakland.\u003c/span> \u003cspan class=\"\">His spirit will always guide the enduring future of the Oakland Symphony.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story originally stated that Michael Morgan’s final performance was with the San Francisco Symphony on July 23 when it was actually at the Bear Valley Music Festival on July 29-Aug. 1.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Morgan, the longtime music director and conductor of the Oakland Symphony, died on Aug. 20 at age 63, his publicist announced today. He passed away at Kaiser Permanente hospital after being admitted last week for an infection, three months after undergoing a successful kidney transplant.\u003c/p>\n\u003cp>Morgan made his mark on the Oakland Symphony with his boundary-pushing programming and passion for education and outreach. Always one to make classical music accessible to new audiences, he invited comedian W. Kamau Bell and activist Dolores Huerta to curate “playlists” for the orchestra to perform, interjecting the canon with songs by John Coltrane and Jimi Hendrix.\u003c/p>\n\u003cp>As one of the few Black and openly gay conductors in the country, Morgan made inclusive programming standard at the Oakland Symphony—well before other orchestras began to grapple with racism in the wake of last year’s protests. His “Notes From…” concert series celebrated the music of Native American, Korean, Vietnamese and LGBTQ+ composers. And as the host of the \u003ca href=\"https://www.sfsymphony.org/CURRENTS\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Currents\u003c/em>\u003c/a> video and podcast series from the San Francisco Symphony, he examined the cross-pollination of classical music with genres as varied as hip-hop and traditional Chinese music.\u003c/p>\n\u003cp>“Our primary question is ‘who’s not here?’ And we look around the room, and see who is not there,” Morgan told \u003ca href=\"https://oaklandside.org/2021/03/24/oakland-symphony-classical-music-race-social-justice-michael-morgan/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a> earlier this year, describing his vision.\u003c/p>\n\u003cp>One of Morgan’s last public appearances was as guest conductor of the San Francisco Symphony at Davies Symphony Hall on July 23. He led the orchestra through a performance of works by overlooked French composer Louise Farrenc and the 1920s jazz classic “Charleston” by James P. Johnson. “He’s made [the Oakland Symphony] a vibrant hotbed for innovative programming, combining a judicious helping of the standard repertoire with music from a wide array of less familiar sources—including, in recent seasons particularly, works by female composers who have too often been left out of the historical narrative,” wrote \u003cem>San Francisco Chronicle\u003c/em> music critic Joshua Kosman in his \u003ca href=\"https://datebook.sfchronicle.com/music/review-conductor-michael-morgan-jazzes-up-a-guest-appearance-with-s-f-symphony\" target=\"_blank\" rel=\"noopener noreferrer\">review\u003c/a> of the concert.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Morgan was born in Washington D.C. and began conducting at age 12. In addition to his duties with the Oakland Symphony, he also held the titles of artistic director of Oakland Symphony Youth Orchestra, music director at Bear Valley Music Festival and music director of Gateways Music Festival. He was music director emeritus of the Sacramento Philharmonic and Opera, and sat on the boards of Oaktown Jazz Workshops and the Purple Silk Music Education Foundation.\u003c/p>\n\u003cp>\u003cspan class=\"\">“This is a terribly sad moment for everyone in the Oakland Symphony family.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">We have lost our guiding father,” said executive director Mieko Hatano in a statement.\u003c/span> \u003cspan class=\"\">“Michael’s plans and ambitions were set for several seasons to come.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">He made his Orchestra socially authentic, demanded equality, and he made his Orchestra our orchestra.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">He fashioned a unique, informed artistic profile that attracted one of the most diverse audiences in the nation.\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">His music reflected his beliefs:\u003c/span>\u003cspan class=\"\"> \u003c/span>\u003cspan class=\"\">reverence for the past, attuned to the future, rooted in his adopted home of Oakland.\u003c/span> \u003cspan class=\"\">His spirit will always guide the enduring future of the Oakland Symphony.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction: \u003c/strong>\u003c/em>\u003cem>This story originally stated that Michael Morgan’s final performance was with the San Francisco Symphony on July 23 when it was actually at the Bear Valley Music Festival on July 29-Aug. 1.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Artists In and Outside of Afghanistan Depict the Agony of the Taliban Takeover",
"headTitle": "Artists In and Outside of Afghanistan Depict the Agony of the Taliban Takeover | KQED",
"content": "\u003cp>Over the weekend, scenes of chaos unfolded in Kabul as the Taliban took control of Afghanistan. Taliban spokesman \u003ca href=\"https://www.bbc.com/news/av/world-asia-58223530\" target=\"_blank\" rel=\"noopener noreferrer\">Suhail Shaheen made assurances\u003c/a> to the BBC on Sunday, that “there will be no revenge on anyone,” and that women would still be permitted to attend school and work. But harrowing stories emerging on the ground in Afghanistan suggest otherwise. Many fear for the freedoms of art and culture.\u003c/p>\n\u003cp>One 24-year-old woman in Kabul wrote in \u003ca href=\"https://www.theguardian.com/world/2021/aug/15/an-afghan-woman-in-kabul-now-i-have-to-burn-everything-i-achieved\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Guardian\u003c/i>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I can no longer laugh out loud, I can no longer listen to my favorite songs, I can no longer meet my friends in our favorite cafe, I can no longer wear my favorite yellow dress or pink lipstick. And I can no longer go to my job or finish the university degree that I worked for years to achieve.\u003c/p>\u003c/blockquote>\n\u003cp>While several prominent Afghan artists quickly took down their social media accounts, a handful have continued to express themselves in the face of a military organization that has previously banned—and destroyed—art in the country.\u003c/p>\n\u003cp>Omaid H. Sharifi, president of nonprofit \u003ca href=\"https://www.instagram.com/artlordsnet/\" target=\"_blank\" rel=\"noopener noreferrer\">ArtLords\u003c/a>, continued to work on a mural in Kabul on Saturday. \u003ca href=\"https://www.npr.org/2021/08/15/1027962002/artist-describes-fear-in-kabul-as-uncertainty-looms\" target=\"_blank\" rel=\"noopener noreferrer\">Sharifi told NPR\u003c/a>, “I’m not sure I may be able to paint again or not. I’m not sure my organization will be there. I’m not sure if my paintings will be there tomorrow … But still, in this day, a couple of hours ago, I was painting in a street of Kabul. And I hope I will be able to do it again.”\u003c/p>\n\u003cp>https://twitter.com/OmaidSharifi/status/1426787945814577153\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also persisting is Shamsia Hassani, Afghanistan’s first female graffiti artist. She has continued to post her heartrending work as the crisis unfolds. Over the weekend, she posted this:\u003c/p>\n\u003cp>https://www.instagram.com/p/CSkTuS0JqD7/\u003c/p>\n\u003cp>By Tuesday, the determination expressed in that initial image had transformed into a devastating expression of defeat:\u003c/p>\n\u003cp>https://www.instagram.com/p/CSsEKI_pyG-/\u003c/p>\n\u003cp>Hassani’s art was picked up and shared by \u003ca href=\"https://www.facebook.com/amightygirl\" target=\"_blank\" rel=\"noopener noreferrer\">A Mighty Girl\u003c/a> on Facebook, as a means to encourage people to donate to organizations—including \u003ca href=\"https://womenforafghanwomen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Women for Afghan Women\u003c/a>—that are helping Afghans on the ground.\u003c/p>\n\u003cp>Much of the Afghanistan-related art being shared on social media currently, however, is several years old.\u003c/p>\n\u003cp>The three-year-old image below, by artist Minna Mamik Momand, has been re-circulating on Instagram, after \u003ca href=\"https://www.instagram.com/p/CSpDdaHL7-u/\" target=\"_blank\" rel=\"noopener noreferrer\">someone added the date\u003c/a> of the Taliban takeover to it.\u003c/p>\n\u003cp>https://www.instagram.com/p/BkTbOAUBbc5/\u003c/p>\n\u003cp>This haunting image by Afghan street artist Malina Suliman, which was created at least six years ago, has also been shared widely as part of online protests about the reality now facing Afghan women in their homeland.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSpccr2D88_/\u003c/p>\n\u003cp>And this painting by Lida Afghan, originally created for International Women’s Day in March, also began circulating on social media over the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13901337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-800x1057.png\" alt=\"\" width=\"800\" height=\"1057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-800x1057.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-768x1015.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM.png 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Lida, an Afghan artist now based in Denmark, posted a message of defiance on Tuesday.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSrnKeaiEbZ/\u003c/p>\n\u003cp>Another Afghan ex-pat, Zayn Sadatt, currently based in Seattle, used his Instagram platform to cry out for international assistance.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSgL3CgruT7/\u003c/p>\n\u003cp>The majority of artworks protesting the Taliban’s takeover are coming from outside of Afghanistan, as artists from around the world express concern and sadness from afar. Many include the symbol of the blue burqa—the garment Afghan women were forced to wear under the Taliban rule of the 1990s.\u003c/p>\n\u003cp>In France:\u003c/p>\n\u003cp>https://www.instagram.com/p/CSoJ41QCdq0/\u003c/p>\n\u003cp>Belgium:\u003c/p>\n\u003cp>https://www.instagram.com/p/CSr4c8zCNcp/\u003c/p>\n\u003cp>Greece:\u003c/p>\n\u003cp>https://www.instagram.com/p/CSnBpCRozWM/\u003c/p>\n\u003cp>India:\u003c/p>\n\u003cfigure id=\"attachment_13901362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-800x883.png\" alt=\"The line, "Now I have to burn everything I have achieved," came from a 'Guardian' article written by an anonymous young woman in Kabul.\" width=\"800\" height=\"883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-800x883.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-1020x1126.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-160x177.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-768x848.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM.png 1078w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The line, “Now I have to burn everything I have achieved,” came from a ‘Guardian’ article written by an anonymous young woman in Kabul. \u003ccite>(Instagram/ @honey_does_melanin_art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, in particular, Iran:\u003c/p>\n\u003cp>https://www.instagram.com/p/CSmlkdItcBi/\u003c/p>\n\u003cp>Iranian journalist and cartoonist Hadi Heidari posted this image with a message of solidarity for Afghan citizens.\u003c/p>\n\u003cp>https://www.instagram.com/p/CShkXcBsPDD/\u003c/p>\n\u003cp>Iranian artist Amin Baghestani posted an image of flowers emerging from the interior of a burqa. It was accompanied by the words to “\u003ca href=\"https://en.wikipedia.org/wiki/Morq-e_sahar\" target=\"_blank\" rel=\"noopener noreferrer\">Morq-e sahar\u003c/a>”—a poem by Mohammad-Taqi Bahar that is an anthem of freedom in Iran.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13901343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-800x931.png\" alt=\"\" width=\"800\" height=\"931\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-800x931.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-160x186.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-768x894.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM.png 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As Afghan artists face an uncertain future, the \u003ca href=\"https://aaawa.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Afghan American Artists and Writers Association\u003c/a> (AAAWA) has urged the U.S. to broaden the eligibility for artist visas. It has asked that especially vulnerable groups in Afghanistan—including women, LGBTQ+ people and religious minorities—be given special consideration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s a closing window of opportunity for these vulnerable groups and the U.S. must facilitate their safety,” the group wrote on its website. “After pursuing 20 years of failed policies that have harmed Afghans, the very least the United States can do is provide refuge for those seeking it as the Taliban aims to take the country by force.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the weekend, scenes of chaos unfolded in Kabul as the Taliban took control of Afghanistan. Taliban spokesman \u003ca href=\"https://www.bbc.com/news/av/world-asia-58223530\" target=\"_blank\" rel=\"noopener noreferrer\">Suhail Shaheen made assurances\u003c/a> to the BBC on Sunday, that “there will be no revenge on anyone,” and that women would still be permitted to attend school and work. But harrowing stories emerging on the ground in Afghanistan suggest otherwise. Many fear for the freedoms of art and culture.\u003c/p>\n\u003cp>One 24-year-old woman in Kabul wrote in \u003ca href=\"https://www.theguardian.com/world/2021/aug/15/an-afghan-woman-in-kabul-now-i-have-to-burn-everything-i-achieved\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Guardian\u003c/i>\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>I can no longer laugh out loud, I can no longer listen to my favorite songs, I can no longer meet my friends in our favorite cafe, I can no longer wear my favorite yellow dress or pink lipstick. And I can no longer go to my job or finish the university degree that I worked for years to achieve.\u003c/p>\u003c/blockquote>\n\u003cp>While several prominent Afghan artists quickly took down their social media accounts, a handful have continued to express themselves in the face of a military organization that has previously banned—and destroyed—art in the country.\u003c/p>\n\u003cp>Omaid H. Sharifi, president of nonprofit \u003ca href=\"https://www.instagram.com/artlordsnet/\" target=\"_blank\" rel=\"noopener noreferrer\">ArtLords\u003c/a>, continued to work on a mural in Kabul on Saturday. \u003ca href=\"https://www.npr.org/2021/08/15/1027962002/artist-describes-fear-in-kabul-as-uncertainty-looms\" target=\"_blank\" rel=\"noopener noreferrer\">Sharifi told NPR\u003c/a>, “I’m not sure I may be able to paint again or not. I’m not sure my organization will be there. I’m not sure if my paintings will be there tomorrow … But still, in this day, a couple of hours ago, I was painting in a street of Kabul. And I hope I will be able to do it again.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also persisting is Shamsia Hassani, Afghanistan’s first female graffiti artist. She has continued to post her heartrending work as the crisis unfolds. Over the weekend, she posted this:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By Tuesday, the determination expressed in that initial image had transformed into a devastating expression of defeat:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hassani’s art was picked up and shared by \u003ca href=\"https://www.facebook.com/amightygirl\" target=\"_blank\" rel=\"noopener noreferrer\">A Mighty Girl\u003c/a> on Facebook, as a means to encourage people to donate to organizations—including \u003ca href=\"https://womenforafghanwomen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Women for Afghan Women\u003c/a>—that are helping Afghans on the ground.\u003c/p>\n\u003cp>Much of the Afghanistan-related art being shared on social media currently, however, is several years old.\u003c/p>\n\u003cp>The three-year-old image below, by artist Minna Mamik Momand, has been re-circulating on Instagram, after \u003ca href=\"https://www.instagram.com/p/CSpDdaHL7-u/\" target=\"_blank\" rel=\"noopener noreferrer\">someone added the date\u003c/a> of the Taliban takeover to it.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This haunting image by Afghan street artist Malina Suliman, which was created at least six years ago, has also been shared widely as part of online protests about the reality now facing Afghan women in their homeland.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>And this painting by Lida Afghan, originally created for International Women’s Day in March, also began circulating on social media over the weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13901337\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-800x1057.png\" alt=\"\" width=\"800\" height=\"1057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-800x1057.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM-768x1015.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-11.05.15-AM.png 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Lida, an Afghan artist now based in Denmark, posted a message of defiance on Tuesday.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another Afghan ex-pat, Zayn Sadatt, currently based in Seattle, used his Instagram platform to cry out for international assistance.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The majority of artworks protesting the Taliban’s takeover are coming from outside of Afghanistan, as artists from around the world express concern and sadness from afar. Many include the symbol of the blue burqa—the garment Afghan women were forced to wear under the Taliban rule of the 1990s.\u003c/p>\n\u003cp>In France:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Belgium:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greece:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>India:\u003c/p>\n\u003cfigure id=\"attachment_13901362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-800x883.png\" alt=\"The line, "Now I have to burn everything I have achieved," came from a 'Guardian' article written by an anonymous young woman in Kabul.\" width=\"800\" height=\"883\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-800x883.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-1020x1126.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-160x177.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM-768x848.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-1.59.57-PM.png 1078w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The line, “Now I have to burn everything I have achieved,” came from a ‘Guardian’ article written by an anonymous young woman in Kabul. \u003ccite>(Instagram/ @honey_does_melanin_art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And, in particular, Iran:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian journalist and cartoonist Hadi Heidari posted this image with a message of solidarity for Afghan citizens.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian artist Amin Baghestani posted an image of flowers emerging from the interior of a burqa. It was accompanied by the words to “\u003ca href=\"https://en.wikipedia.org/wiki/Morq-e_sahar\" target=\"_blank\" rel=\"noopener noreferrer\">Morq-e sahar\u003c/a>”—a poem by Mohammad-Taqi Bahar that is an anthem of freedom in Iran.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13901343\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-800x931.png\" alt=\"\" width=\"800\" height=\"931\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-800x931.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-160x186.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM-768x894.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-16-at-12.17.16-PM.png 852w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>As Afghan artists face an uncertain future, the \u003ca href=\"https://aaawa.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Afghan American Artists and Writers Association\u003c/a> (AAAWA) has urged the U.S. to broaden the eligibility for artist visas. It has asked that especially vulnerable groups in Afghanistan—including women, LGBTQ+ people and religious minorities—be given special consideration.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s a closing window of opportunity for these vulnerable groups and the U.S. must facilitate their safety,” the group wrote on its website. “After pursuing 20 years of failed policies that have harmed Afghans, the very least the United States can do is provide refuge for those seeking it as the Taliban aims to take the country by force.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Steve 'Zumbi' Gaines, Prolific Bay Area MC from Zion I, Dies at Age 49",
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"headTitle": "Steve ‘Zumbi’ Gaines, Prolific Bay Area MC from Zion I, Dies at Age 49 | KQED",
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"content": "\u003cp>\u003cem>This story has been updated. Zumbi’s death has been \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\">investigated as a homicide\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Steve Gaines, the MC known as Baba Zumbi from Bay Area hip-hop group Zion I, has died. KQED spoke with Zumbi’s family and confirmed his death on Friday afternoon.\u003c/p>\n\u003cp>The family shared a statement with KQED Friday evening:\u003c/p>\n\u003cp>\u003cem>It is with utter disbelief and great sadness that the Gaines family shares the news of the passing of Steve “Zumbi” Gaines on Friday, August 13, 2021. Gaines, 49 and the MC of the critically acclaimed hip-hop group Zion I, passed away at Alta Bates Hospital today in the early morning from unknown causes. The family requests privacy in this very challenging time while they await further details.\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_13962689']\u003cem>Steve is survived by three sons, his mother and his brother. He was working on a Zion I reunion tour with longtime producer and collaborator, Amp Live, to honor the legacy of their musical endeavors for their fans.\u003c/em>\u003c/p>\n\u003cp>Neither Zumbi’s family nor his publicist addressed early reports that he died from complications related to COVID, as initially told to KQED by close friends. Zumbi was said to be hesitant about receiving the COVID vaccine.\u003c/p>\n\u003cp>Earlier Friday, the Los Angeles hip-hop collective Project Blowed \u003ca href=\"https://www.instagram.com/p/CSig6tTrDyH/\" rel=\"noopener noreferrer\" target=\"_blank\">posted a statement\u003c/a> from DJ True Justice, a touring DJ for Zion I, saying that Zumbi had been recovering from COVID when “he had a severe asthma attack and his heart stopped. He died in the hospital. They were unable to revive him.” \u003c/p>\n\u003cp>[aside postID='arts_13936095']But Berkeley police, who responded to a physical altercation between a patient and hospital staff shortly after 5am on Friday, are now investigating Zumbi’s death. A spokesperson for the Berkeley Police Department \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Police-investigating-death-of-well-known-Bay-Area-16388574.php\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that the involved patient was eventually pinned down by hospital security. The spokesperson added that, upon arrival, officers began handcuffing the patient when they determined that he needed immediate medical assistance.\u003c/p>\n\u003cp>Police and hospital staff performed livesaving measures, but the patient was unresponsive and pronounced dead at the scene, the spokesperson said. Police dispatch recordings reviewed by KQED identify the patient as Steven Gaines. \u003c/p>\n\u003cfigure id=\"attachment_13901318\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg\" alt=\"Baba Zumbi of Zion I in 2012. \" width=\"640\" height=\"895\" class=\"size-large wp-image-13901318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1098x1536.jpg 1098w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical.jpg 1372w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Baba Zumbi of Zion I in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zumbi began releasing music under the Zion I name in 2000 together with DJ and producer Amp Live. Over the next decade and a half, the group released nine full-length albums, plus several mixtapes and collaborations. Amp Live left Zion I in 2015, but the two had reunited this year for an anniversary tour together, scheduled for October. \u003c/p>\n\u003cp>Zumbi was known for weaving a spiritual approach into hip-hop, reflected in his searching, mystical lyrics, and in the title of Zion I’s debut album \u003cem>Mind Over Matter\u003c/em>, which \u003cem>The Source\u003c/em> nominated for Independent Album of the Year in 2000.\u003c/p>\n\u003cp>[aside postID='pop_28324']Yet Zumbi also understood the streets, as evidenced by \u003cem>Heroes in the City of Dope\u003c/em>, Zion I’s hoodwise 2006 collaboration with The Grouch. Stridently creative and uncomfortable in any box, Zumbi strove for blending different musical styles, notably on the widely varied 2008 album \u003cem>The Take Over\u003c/em>.\u003c/p>\n\u003cp>Zumbi was no stranger to the social issues in his music. In 2016, he became a victim of the Bay Area’s housing crisis when he was evicted from his Oakland home, and \u003ca href=\"https://www.kqed.org/pop/28324/on-zion-is-tech-a-housing-crisis-turns-personal\" rel=\"noopener noreferrer\" target=\"_blank\">filmed the video for the song “Tech $” inside his house\u003c/a> as his family packed up belongings into moving boxes. \u003c/p>\n\u003cp>“I wrote the song out of frustration with trying to find something affordable and being abruptly introduced to skyrocketing rent prices and hordes of people eager to pay,” he told KQED at the time. \u003c/p>\n\u003cfigure id=\"attachment_13901317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg\" alt=\"Zumbi of Zion I performs at the video shoot for 'Human Being,' in 2012.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13901317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Zumbi of Zion I performs at the video shoot for ‘Human Being,’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, while wrestling with the deaths of his father, his grandmother and a close friend, Zumbi \u003ca href=\"https://eastbayexpress.com/the-reawakening-of-zion-is-baba-zumbi-2-1/\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>East Bay Express\u003c/em>\u003c/a> that he found strength in tai chi and inspiration from his family, including his three kids. In the recording studio, he said, he’d had an epiphany that his deceased loved ones were there in spirit, supporting him. “Now I can never deny the fact that I know that the spirit world is always present,” he said, “and I always have to acknowledge it from here on out.\u003c/p>\n\u003cp>Zumbi loved the Bay Area so much that he wrote an ode to the region, “\u003ca href=\"https://www.youtube.com/watch?v=DMmZuKUzeXE\" rel=\"noopener noreferrer\" target=\"_blank\">The Bay\u003c/a>,” and he performed with, collaborated with, and recorded with countless other Bay Area musicians up until his death. In April, he released “\u003ca href=\"https://www.youtube.com/watch?v=KKzKKxnWX5w\" rel=\"noopener noreferrer\" target=\"_blank\">Try & Try\u003c/a>,” a collaboration with Fantastic Negrito, and over the past summer had played shows with Mac Mall, San Quinn and Equipto.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KKzKKxnWX5w\u003c/p>\n\u003cp>A prolific live performer who toured regularly, Zumbi had also performed with Shock G from Digital Underground, upon whose death Zumbi \u003ca href=\"https://www.instagram.com/p/CN_WWgwLmu1/\" rel=\"noopener noreferrer\" target=\"_blank\">wrote\u003c/a>: “hip-hop is getting rocked left and right… tears stream down my face as I write this.”\u003c/p>\n\u003cp>In an Instagram post after the death of Biz Markie last month, Zumbi sounded a more somber tone.\u003c/p>\n\u003cp>“Feels like an entire generation is leaving us as of late,” he wrote.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw contributed reporting.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story has been updated. Zumbi’s death has been \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\">investigated as a homicide\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Steve Gaines, the MC known as Baba Zumbi from Bay Area hip-hop group Zion I, has died. KQED spoke with Zumbi’s family and confirmed his death on Friday afternoon.\u003c/p>\n\u003cp>The family shared a statement with KQED Friday evening:\u003c/p>\n\u003cp>\u003cem>It is with utter disbelief and great sadness that the Gaines family shares the news of the passing of Steve “Zumbi” Gaines on Friday, August 13, 2021. Gaines, 49 and the MC of the critically acclaimed hip-hop group Zion I, passed away at Alta Bates Hospital today in the early morning from unknown causes. The family requests privacy in this very challenging time while they await further details.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Steve is survived by three sons, his mother and his brother. He was working on a Zion I reunion tour with longtime producer and collaborator, Amp Live, to honor the legacy of their musical endeavors for their fans.\u003c/em>\u003c/p>\n\u003cp>Neither Zumbi’s family nor his publicist addressed early reports that he died from complications related to COVID, as initially told to KQED by close friends. Zumbi was said to be hesitant about receiving the COVID vaccine.\u003c/p>\n\u003cp>Earlier Friday, the Los Angeles hip-hop collective Project Blowed \u003ca href=\"https://www.instagram.com/p/CSig6tTrDyH/\" rel=\"noopener noreferrer\" target=\"_blank\">posted a statement\u003c/a> from DJ True Justice, a touring DJ for Zion I, saying that Zumbi had been recovering from COVID when “he had a severe asthma attack and his heart stopped. He died in the hospital. They were unable to revive him.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Berkeley police, who responded to a physical altercation between a patient and hospital staff shortly after 5am on Friday, are now investigating Zumbi’s death. A spokesperson for the Berkeley Police Department \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Police-investigating-death-of-well-known-Bay-Area-16388574.php\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that the involved patient was eventually pinned down by hospital security. The spokesperson added that, upon arrival, officers began handcuffing the patient when they determined that he needed immediate medical assistance.\u003c/p>\n\u003cp>Police and hospital staff performed livesaving measures, but the patient was unresponsive and pronounced dead at the scene, the spokesperson said. Police dispatch recordings reviewed by KQED identify the patient as Steven Gaines. \u003c/p>\n\u003cfigure id=\"attachment_13901318\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg\" alt=\"Baba Zumbi of Zion I in 2012. \" width=\"640\" height=\"895\" class=\"size-large wp-image-13901318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1098x1536.jpg 1098w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical.jpg 1372w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Baba Zumbi of Zion I in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zumbi began releasing music under the Zion I name in 2000 together with DJ and producer Amp Live. Over the next decade and a half, the group released nine full-length albums, plus several mixtapes and collaborations. Amp Live left Zion I in 2015, but the two had reunited this year for an anniversary tour together, scheduled for October. \u003c/p>\n\u003cp>Zumbi was known for weaving a spiritual approach into hip-hop, reflected in his searching, mystical lyrics, and in the title of Zion I’s debut album \u003cem>Mind Over Matter\u003c/em>, which \u003cem>The Source\u003c/em> nominated for Independent Album of the Year in 2000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet Zumbi also understood the streets, as evidenced by \u003cem>Heroes in the City of Dope\u003c/em>, Zion I’s hoodwise 2006 collaboration with The Grouch. Stridently creative and uncomfortable in any box, Zumbi strove for blending different musical styles, notably on the widely varied 2008 album \u003cem>The Take Over\u003c/em>.\u003c/p>\n\u003cp>Zumbi was no stranger to the social issues in his music. In 2016, he became a victim of the Bay Area’s housing crisis when he was evicted from his Oakland home, and \u003ca href=\"https://www.kqed.org/pop/28324/on-zion-is-tech-a-housing-crisis-turns-personal\" rel=\"noopener noreferrer\" target=\"_blank\">filmed the video for the song “Tech $” inside his house\u003c/a> as his family packed up belongings into moving boxes. \u003c/p>\n\u003cp>“I wrote the song out of frustration with trying to find something affordable and being abruptly introduced to skyrocketing rent prices and hordes of people eager to pay,” he told KQED at the time. \u003c/p>\n\u003cfigure id=\"attachment_13901317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg\" alt=\"Zumbi of Zion I performs at the video shoot for 'Human Being,' in 2012.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13901317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Zumbi of Zion I performs at the video shoot for ‘Human Being,’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, while wrestling with the deaths of his father, his grandmother and a close friend, Zumbi \u003ca href=\"https://eastbayexpress.com/the-reawakening-of-zion-is-baba-zumbi-2-1/\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>East Bay Express\u003c/em>\u003c/a> that he found strength in tai chi and inspiration from his family, including his three kids. In the recording studio, he said, he’d had an epiphany that his deceased loved ones were there in spirit, supporting him. “Now I can never deny the fact that I know that the spirit world is always present,” he said, “and I always have to acknowledge it from here on out.\u003c/p>\n\u003cp>Zumbi loved the Bay Area so much that he wrote an ode to the region, “\u003ca href=\"https://www.youtube.com/watch?v=DMmZuKUzeXE\" rel=\"noopener noreferrer\" target=\"_blank\">The Bay\u003c/a>,” and he performed with, collaborated with, and recorded with countless other Bay Area musicians up until his death. In April, he released “\u003ca href=\"https://www.youtube.com/watch?v=KKzKKxnWX5w\" rel=\"noopener noreferrer\" target=\"_blank\">Try & Try\u003c/a>,” a collaboration with Fantastic Negrito, and over the past summer had played shows with Mac Mall, San Quinn and Equipto.\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/KKzKKxnWX5w'\n title='//www.youtube.com/embed/KKzKKxnWX5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A prolific live performer who toured regularly, Zumbi had also performed with Shock G from Digital Underground, upon whose death Zumbi \u003ca href=\"https://www.instagram.com/p/CN_WWgwLmu1/\" rel=\"noopener noreferrer\" target=\"_blank\">wrote\u003c/a>: “hip-hop is getting rocked left and right… tears stream down my face as I write this.”\u003c/p>\n\u003cp>In an Instagram post after the death of Biz Markie last month, Zumbi sounded a more somber tone.\u003c/p>\n\u003cp>“Feels like an entire generation is leaving us as of late,” he wrote.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw contributed reporting.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Nanci Griffith, Beloved Folk Singer-Songwriter, Dies at 68",
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"content": "\u003cp>Nanci Griffith, the Grammy-winning folk singer-songwriter from Texas whose literary songs like “Love at the Five and Dime” celebrated the South, has died. She was 68.\u003c/p>\n\u003cp>Her management company, Gold Mountain Entertainment, said Griffith died Friday but did not provide a cause of death.\u003c/p>\n\u003cp>“It was Nanci’s wish that no further formal statement or press release happen for a week following her passing,” Gold Mountain Entertainment said in a statement.\u003c/p>\n\u003cp>Griffith worked closely with other folk singers, helping the early careers of artists like Lyle Lovett and Emmylou Harris. She had a high-pitched voice, and her singing was effortlessly smooth with a twangy Texas accent as she sang about Dust Bowl farmers and empty Woolworth general stores.\u003c/p>\n\u003cp>Griffith was also known for her recording of “From a Distance,” which would later become a well-known Bette Midler tune. The song appeared on Griffith’s first major label release, “Lone Star State of Mind” in 1987.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her 1993 album “Other Voices, Other Rooms,” earned a Grammy for best contemporary folk album. Named after a Truman Capote novel, the album features Griffith singing with Harris, John Prine, Arlo Guthrie and Guy Clark on classic folk songs.\u003c/p>\n\u003cp>In 2008, Griffith won the Lifetime Achievement Trailblazer Award from the Americana Music Association.\u003c/p>\n\u003cp>Country singer Suzy Bogguss, who had a Top 10 hit with Griffith’s song “Outbound Plane,” posted a remembrance to her friend on Instagram.\u003c/p>\n\u003cp>“I feel blessed to have many memories of our times together along with most everything she ever recorded. I’m going to spend the day reveling in the articulate masterful legacy she’s left us,” Bogguss wrote.\u003c/p>\n\u003cp>Darius Rucker called Griffith one of his idols and why he moved to Nashville.\u003c/p>\n\u003cp>“Singing with her was my favorite things to do,” he wrote on Twitter.\u003c/p>\n\u003cp>Keeping in line with the tradition of folk music, Griffith often wrote social commentary into her songs, such as the anti-racist ode “It’s a Hard Life Wherever You Go,” and the economic impact on rural farmers in the 1980s on “Trouble in the Fields.”\u003c/p>\n\u003cp>“I wrote it because my family were farmers in West Texas during the Great Depression,” Griffith told the Los Angeles Times in a 1990 interview. “It was written basically as a show of support for my generation of farmers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Griffith gained many fans in Ireland and Northern Ireland, where she would often tour.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her 1993 album “Other Voices, Other Rooms,” earned a Grammy for best contemporary folk album. Named after a Truman Capote novel, the album features Griffith singing with Harris, John Prine, Arlo Guthrie and Guy Clark on classic folk songs.\u003c/p>\n\u003cp>In 2008, Griffith won the Lifetime Achievement Trailblazer Award from the Americana Music Association.\u003c/p>\n\u003cp>Country singer Suzy Bogguss, who had a Top 10 hit with Griffith’s song “Outbound Plane,” posted a remembrance to her friend on Instagram.\u003c/p>\n\u003cp>“I feel blessed to have many memories of our times together along with most everything she ever recorded. I’m going to spend the day reveling in the articulate masterful legacy she’s left us,” Bogguss wrote.\u003c/p>\n\u003cp>Darius Rucker called Griffith one of his idols and why he moved to Nashville.\u003c/p>\n\u003cp>“Singing with her was my favorite things to do,” he wrote on Twitter.\u003c/p>\n\u003cp>Keeping in line with the tradition of folk music, Griffith often wrote social commentary into her songs, such as the anti-racist ode “It’s a Hard Life Wherever You Go,” and the economic impact on rural farmers in the 1980s on “Trouble in the Fields.”\u003c/p>\n\u003cp>“I wrote it because my family were farmers in West Texas during the Great Depression,” Griffith told the Los Angeles Times in a 1990 interview. “It was written basically as a show of support for my generation of farmers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Griffith gained many fans in Ireland and Northern Ireland, where she would often tour.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some of the most recognizable music venues across the country will soon require proof of vaccination to enter. The new rules will take full effect by Oct. 1. Until then audience and staff will be able to show a negative COVID test to enter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>AEG Presents, the world’s second-largest live music company, announced today that it will start implementing a new vaccine policy across all the \u003ca href=\"https://www.aegpresents.com/venues/\" target=\"_blank\" rel=\"noopener noreferrer\">48 clubs and theaters\u003c/a> it owns or operates in the country. That includes New York City’s Webster Hall, Los Angeles’ El Rey Theatre, Denver’s Bluebird Theater and others.\u003c/p>\n\u003cp>The policy will also cover the festivals run by AEG Presents—including Coachella, Firefly, and Day N Vegas.\u003c/p>\n\u003cp>The announcement did not specify a policy about masking.\u003c/p>\n\u003cp>In a statement announcing the policy, AEG Presents CEO Jay Marciano said “just a few weeks ago, we were optimistic about where our business, and country, were heading. The delta variant, combined with vaccine hesitancy, is pushing us in the wrong direction again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The live music industry had been on the verge of returning to normalcy with tours kicking off and music festivals happening across the country. But the delta variant has dampened that initial burst of excitement. Concerts have been cancelled due to positive COVID tests, shows have been delayed, even AEG’s own New Orleans Jazz Fest was cancelled this year due to a surge of COVID cases across Louisiana.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Certain states’ regulations may override our mandate, or a few artists may not want to immediately get on board with the plan,” said AEG Presents General Counsel Shawn Trell in the press release. “But we know that using our platform to take a strong position on vaccinations can make an impact.”\u003c/p>\n\u003cp>AEG’s rival Live Nation took a different route. According to \u003cem>\u003ca href=\"https://variety.com/2021/music/news/live-nation-vaccination-best-practices-concerts-1235036359/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>,\u003c/em> it’s letting artists make individual decisions about whether to make any requirements at their shows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>AEG Presents’ policy applies only to the clubs, theaters and festivals it owns or operates. A spokesperson for the company says AEG will make the request on behalf of their touring artists when they play shows at non-AEG venues.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org.\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+Of+The+Biggest+Live+Music+Companies+Will+Require+Full+Vaccination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Stevie Nicks Cancels BottleRock Set, Citing COVID Concerns",
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"content": "\u003cp>Stevie Nicks fans won’t be seeing the Fleetwood Mac frontwoman at \u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> this year after all. The musician announced today that she’s canceling all five of her 2021 live appearances, which included the Napa Valley music festival slated for Labor Day weekend Sept. 3–5.\u003c/p>\n\u003cp>“These are challenging times with challenging decisions that have to be made,” Nicks said in a statement published by \u003ca href=\"https://variety.com/2021/music/news/stevie-nicks-cancels-all-concerts-1235038786/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>. “I want everyone to be safe and healthy and the rising Covid cases should be of concern to all of us. While I’m vaccinated, at my age, I am still being extremely cautious and for that reason have decided to skip the five performances I had planned for 2021.”\u003c/p>\n\u003cp>“Because singing and performing have been my whole life, my primary goal is to keep healthy so I can continue singing for the next decade or longer,” she added. “I’m devastated and I know the fans are disappointed, but we will look towards a brighter 2022.”\u003c/p>\n\u003cp>The singer, 73, announced her decision as conversations around safety at music festivals pick up around the world. Over 2,000 new coronavirus cases were linked to \u003ca href=\"https://djmag.com/news/over-2000-people-test-positive-covid-19-following-music-festivals-catalonia\" target=\"_blank\" rel=\"noopener noreferrer\">three recent music festivals in Catalonia, Spain\u003c/a>, raising concerns about outdoor transmission. And 1,000 cases were linked to a \u003ca href=\"https://djmag.com/news/dutch-music-festival-linked-over-1000-new-coronavirus-cases\" target=\"_blank\" rel=\"noopener noreferrer\">Dutch music festival\u003c/a> last month, despite the event requiring proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>BottleRock recently announced that either a negative COVID test with a 72-hour window or proof of at least one vaccine dose will be required for entry. But, as recent events have shown, measures such as these are not foolproof against COVID in tightly packed crowds. \u003ca href=\"https://covid.cdc.gov/covid-data-tracker/#county-view\" target=\"_blank\" rel=\"noopener noreferrer\">Most of the United States\u003c/a>, including Napa County, is at high risk of community transmission for the virus right now. Vaccinated people tend to experience fewer and less serious symptoms, although they can still transmit the virus if they become infected, and about \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">63% of California’s population\u003c/a> is fully vaccinated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for BottleRock are sold out, and the show is expected to bring 120,000 people to Napa Valley next month. Country singer Chris Stapleton will replace Nicks as headliner, and other artists on the bill include Guns N’ Roses, Foo Fighters, Miley Cyrus and Megan Thee Stallion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stevie Nicks fans won’t be seeing the Fleetwood Mac frontwoman at \u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> this year after all. The musician announced today that she’s canceling all five of her 2021 live appearances, which included the Napa Valley music festival slated for Labor Day weekend Sept. 3–5.\u003c/p>\n\u003cp>“These are challenging times with challenging decisions that have to be made,” Nicks said in a statement published by \u003ca href=\"https://variety.com/2021/music/news/stevie-nicks-cancels-all-concerts-1235038786/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em>\u003c/a>. “I want everyone to be safe and healthy and the rising Covid cases should be of concern to all of us. While I’m vaccinated, at my age, I am still being extremely cautious and for that reason have decided to skip the five performances I had planned for 2021.”\u003c/p>\n\u003cp>“Because singing and performing have been my whole life, my primary goal is to keep healthy so I can continue singing for the next decade or longer,” she added. “I’m devastated and I know the fans are disappointed, but we will look towards a brighter 2022.”\u003c/p>\n\u003cp>The singer, 73, announced her decision as conversations around safety at music festivals pick up around the world. Over 2,000 new coronavirus cases were linked to \u003ca href=\"https://djmag.com/news/over-2000-people-test-positive-covid-19-following-music-festivals-catalonia\" target=\"_blank\" rel=\"noopener noreferrer\">three recent music festivals in Catalonia, Spain\u003c/a>, raising concerns about outdoor transmission. And 1,000 cases were linked to a \u003ca href=\"https://djmag.com/news/dutch-music-festival-linked-over-1000-new-coronavirus-cases\" target=\"_blank\" rel=\"noopener noreferrer\">Dutch music festival\u003c/a> last month, despite the event requiring proof of vaccination or a negative COVID test.\u003c/p>\n\u003cp>BottleRock recently announced that either a negative COVID test with a 72-hour window or proof of at least one vaccine dose will be required for entry. But, as recent events have shown, measures such as these are not foolproof against COVID in tightly packed crowds. \u003ca href=\"https://covid.cdc.gov/covid-data-tracker/#county-view\" target=\"_blank\" rel=\"noopener noreferrer\">Most of the United States\u003c/a>, including Napa County, is at high risk of community transmission for the virus right now. Vaccinated people tend to experience fewer and less serious symptoms, although they can still transmit the virus if they become infected, and about \u003ca href=\"https://covid19.ca.gov/vaccination-progress-data/\" target=\"_blank\" rel=\"noopener noreferrer\">63% of California’s population\u003c/a> is fully vaccinated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tickets for BottleRock are sold out, and the show is expected to bring 120,000 people to Napa Valley next month. Country singer Chris Stapleton will replace Nicks as headliner, and other artists on the bill include Guns N’ Roses, Foo Fighters, Miley Cyrus and Megan Thee Stallion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Artist Hung Liu Passes Away Ahead of Major National Portrait Gallery Show",
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"content": "\u003cp>Oakland-based visual artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a> died over the weekend. She was one of the first Chinese artists to establish a successful career in the United States.\u003c/p>\n\u003cp>Liu was less than two months shy of opening \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">a major exhibition\u003c/a> at the National Portrait Gallery in Washington, D.C.—the institution’s first ever solo show by an Asian American woman—when she was diagnosed with late-stage pancreatic cancer. She was 73 years old.\u003c/p>\n\u003cp>“The National Portrait Gallery mourns the loss of Hung Liu, whose extraordinary vision reminds us that even in the midst of despair, and when people help each other, there is joy,” said the institution’s director, Kim Sajet, in a statement issued on Monday. “She believed in the power of art and portraiture to change the world.”\u003c/p>\n\u003cp>https://youtu.be/LV8e43K2zCI\u003c/p>\n\u003cp>Liu is best known for her massive, detailed portraits of working-class people, often based on photographs and featuring linseed oil washes giving the imagery an ethereal, melting quality. Liu’s work earned her many art world accolades and the admiration of curators from all over the country.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her work has been collected by institutions like the San Francisco Museum of Modern Art, the Whitney Museum, the Asian Art Museum, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the San Jose Museum of Art. And galleries and museums as far afield as Virginia and Maine have featured Liu’s work in exhibitions.\u003c/p>\n\u003cp>“She spent her career focusing on the dispossessed—people who have been traditionally elided from historical narratives—giving them a voice, giving them a place and foregrounding their stories,” says Janna Keegan, the curator of Liu’s immigration-themed show currently on display at San Francisco’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13900935\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Hung Liu: Golden Gate (金門)’ at the de Young Museum in San Francisco. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu was born in China in 1948 under the Maoist regime. She immigrated to the United States in 1984 to attend grad school at UC San Diego. In addition to working as an artist, she also taught painting for more than two decades at Mills College, starting in 1990.\u003c/p>\n\u003cp>Even though much of her work foregrounded human rights, gender and cultural memory issues over overt political commentary, Liu made national headlines a few of years ago when a prominent arts center in Beijing, the \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a>, was forced to cancel a major exhibition of Liu’s works after the local authorities declined to issue the necessary import permits.\u003c/p>\n\u003cp>“Topics that were once relatively open for discussion are now increasingly scrutinized,” Philip Tinari, the UCCA Center’s director, told the \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>New York Times\u003c/i>\u003c/a> about the show’s late-stage cancellation. “An exhibition that might have been greenlighted a few years ago—such as this one—must now be canceled.”\u003c/p>\n\u003cp>Galleries and museums across the country issued statements in response to the artist’s death, such as the Oakland Museum of California, which had a long relationship with Liu. The museum collected her pieces, co-commissioned \u003cem>Going Away, Coming Home\u003c/em>, an installation at the Oakland Airport, and presented a 2013 survey of her work, \u003cem>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Hung’s work bridged cultures, spanned history, and connected hearts around the world,” wrote Oakland Museum director Lori Fogarty in a statement released on Monday on social media. “Beyond her artistic career and her stunning paintings, Hung was a beloved friend. She was vibrant, funny, playful, and joyous. She was also strong, fierce, and courageous. She was the most generous of people and the hardest working. She painted nearly every day and was continually finding inspiration for her insatiable curiosity and creativity. And she had the ability to make everyone with whom she came in contact feel special and honored. We count ourselves so lucky to have known her.”\u003c/p>\n\u003cp>Liu is survived by her husband, Jeff Kelley, and son, Ling Chen Kelley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Portraits of Promised Lands\u003c/em>\u003c/a> opens at the National Portrait Gallery on Aug. 27, 2020 and \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Golden Gate\u003c/em>\u003c/a> is on display at the de Young Museum through March 13, 2022.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-based visual artist \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a> died over the weekend. She was one of the first Chinese artists to establish a successful career in the United States.\u003c/p>\n\u003cp>Liu was less than two months shy of opening \u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">a major exhibition\u003c/a> at the National Portrait Gallery in Washington, D.C.—the institution’s first ever solo show by an Asian American woman—when she was diagnosed with late-stage pancreatic cancer. She was 73 years old.\u003c/p>\n\u003cp>“The National Portrait Gallery mourns the loss of Hung Liu, whose extraordinary vision reminds us that even in the midst of despair, and when people help each other, there is joy,” said the institution’s director, Kim Sajet, in a statement issued on Monday. “She believed in the power of art and portraiture to change the world.”\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/LV8e43K2zCI'\n title='//www.youtube.com/embed/LV8e43K2zCI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liu is best known for her massive, detailed portraits of working-class people, often based on photographs and featuring linseed oil washes giving the imagery an ethereal, melting quality. Liu’s work earned her many art world accolades and the admiration of curators from all over the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her work has been collected by institutions like the San Francisco Museum of Modern Art, the Whitney Museum, the Asian Art Museum, the Metropolitan Museum of Art, the Los Angeles County Museum of Art and the San Jose Museum of Art. And galleries and museums as far afield as Virginia and Maine have featured Liu’s work in exhibitions.\u003c/p>\n\u003cp>“She spent her career focusing on the dispossessed—people who have been traditionally elided from historical narratives—giving them a voice, giving them a place and foregrounding their stories,” says Janna Keegan, the curator of Liu’s immigration-themed show currently on display at San Francisco’s \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13900935\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13900935\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg\" alt=\"\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/2021_HUNGLIU_14_5_1200-768x513.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Hung Liu: Golden Gate (金門)’ at the de Young Museum in San Francisco. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu was born in China in 1948 under the Maoist regime. She immigrated to the United States in 1984 to attend grad school at UC San Diego. In addition to working as an artist, she also taught painting for more than two decades at Mills College, starting in 1990.\u003c/p>\n\u003cp>Even though much of her work foregrounded human rights, gender and cultural memory issues over overt political commentary, Liu made national headlines a few of years ago when a prominent arts center in Beijing, the \u003ca href=\"https://ucca.org.cn/en/\" target=\"_blank\" rel=\"noopener noreferrer\">UCCA Center for Contemporary Art\u003c/a>, was forced to cancel a major exhibition of Liu’s works after the local authorities declined to issue the necessary import permits.\u003c/p>\n\u003cp>“Topics that were once relatively open for discussion are now increasingly scrutinized,” Philip Tinari, the UCCA Center’s director, told the \u003ca href=\"https://www.nytimes.com/2019/11/20/arts/design/china-censorship-arts-hung-liu.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>New York Times\u003c/i>\u003c/a> about the show’s late-stage cancellation. “An exhibition that might have been greenlighted a few years ago—such as this one—must now be canceled.”\u003c/p>\n\u003cp>Galleries and museums across the country issued statements in response to the artist’s death, such as the Oakland Museum of California, which had a long relationship with Liu. The museum collected her pieces, co-commissioned \u003cem>Going Away, Coming Home\u003c/em>, an installation at the Oakland Airport, and presented a 2013 survey of her work, \u003cem>\u003ca href=\"https://museumca.org/exhibit/summoning-ghosts-art-hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">Summoning Ghosts: The Art of Hung Liu\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>“Hung’s work bridged cultures, spanned history, and connected hearts around the world,” wrote Oakland Museum director Lori Fogarty in a statement released on Monday on social media. “Beyond her artistic career and her stunning paintings, Hung was a beloved friend. She was vibrant, funny, playful, and joyous. She was also strong, fierce, and courageous. She was the most generous of people and the hardest working. She painted nearly every day and was continually finding inspiration for her insatiable curiosity and creativity. And she had the ability to make everyone with whom she came in contact feel special and honored. We count ourselves so lucky to have known her.”\u003c/p>\n\u003cp>Liu is survived by her husband, Jeff Kelley, and son, Ling Chen Kelley.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://npg.si.edu/exhibition/hung-liu-portraits-promised-lands\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Portraits of Promised Lands\u003c/em>\u003c/a> opens at the National Portrait Gallery on Aug. 27, 2020 and \u003ca href=\"https://deyoung.famsf.org/exhibitions/hung-liu\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hung Liu: Golden Gate\u003c/em>\u003c/a> is on display at the de Young Museum through March 13, 2022.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British vaccinologist Sarah Gilbert now has a new accolade: It’s a one-of-a-kind Barbie doll made in her image.\u003c/p>\n\u003cp>The Oxford University professor helped lead the development of the Oxford/AstraZeneca coronavirus vaccine. Last month, she was given a damehood, and now, she shares her hairstyle, professional wardrobe and dark-rimmed glasses with Mattel Inc’s new doll.\u003c/p>\n\u003cp>https://twitter.com/Reuters/status/1423101451757314049\u003c/p>\n\u003cp>Gilbert told \u003ca href=\"https://www.theguardian.com/society/2021/aug/04/vaccinologist-barbie-prof-sarah-gilbert-honoured-with-a-doll\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Guardian\u003c/em>\u003c/a> she first found Mattel’s recognition “very strange” but hopes it inspires other young women around the world to work in science, technology, engineering and mathematics careers (STEM).\u003c/p>\n\u003cp>[aside postid='arts_13815050']“I am passionate about inspiring the next generation of girls into STEM careers and hope that children who see my Barbie will realize how vital careers in science are to help the world around us,” she said. “My wish is that my doll will show children careers they may not be aware of, like a vaccinologist.”\u003c/p>\n\u003ch3>Six women are being honored with Barbies\u003c/h3>\n\u003cp>Gilbert is one of the six women Mattel Inc has recognized as role models in the fight against COVID-19. According to the \u003ca href=\"https://corporate.mattel.com/news/mattel-once-again-says-thankyouheroes-by-supporting-first-responders-childrens-foundation-and-honoring-global-frontline-medical-workers-with-one-of-a-kind-barbie-dolls\" target=\"_blank\" rel=\"noopener noreferrer\">toymaker\u003c/a>, the five other honorees are U.S. health care workers Dr. Audrey Sue Cruz and emergency room nurse Amy O’Sullivan, Canadian doctor and advocate against systemic racism in health care Chicka Stacy Oriuwa, Brazilian biomedical researcher Dr. Jaqueline Goes de Jesus and Australian doctor and protective gown developer Kirby White.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Barbie recognizes that all frontline workers have made tremendous sacrifices when confronting the pandemic and the challenges it heightened,” said Lisa McKnight, senior vice president and global head of Barbie and Dolls at Mattel. “To shine a light on their efforts, we are sharing their stories.”\u003c/p>\n\u003cp>She added that she hopes the new launch “inspires the next generation to take after these heroes.”\u003c/p>\n\u003cfigure id=\"attachment_13900776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233399583_wide-54f2a2a572a81f2012b31b54adae9af61ebd3bd3-800x450.jpg\" alt=\"Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image. \u003ccite>(Steve Parsons/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oxford/AstraZeneca vaccine co-developer has been producing and testing vaccines for over a decade, according to her \u003ca href=\"https://www.ox.ac.uk/news-and-events/find-an-expert/professor-sarah-gilbert\" target=\"_blank\" rel=\"noopener noreferrer\">Oxford University profile\u003c/a>. And just last month, the now widely available vaccine \u003ca href=\"https://twitter.com/UniofOxford/status/1421096992881659910?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1421096992881659910%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.washingtonpost.com%2Fworld%2F2021%2F08%2F04%2Fvaccinologist-barbie-sarah-gilbert-coronavirus%2F\" target=\"_blank\" rel=\"noopener noreferrer\">set a distribution\u003c/a> milestone of 1 billion doses.\u003c/p>\n\u003cp>As of this year, only \u003ca href=\"https://www.stemwomen.co.uk/blog/2021/01/women-in-stem-percentages-of-women-in-stem-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">35% of STEM students are women\u003c/a>, according to STEM Women, a U.K. organization dedicated to increasing the number of women in the STEM workforce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Xcaret Nuñez is an intern with NPR’s News Desk\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mattel%27s+Barbie+Turns+Women+Of+Science%2C+Including+COVID+Vaccine+Developer%2C+Into+Dolls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I am passionate about inspiring the next generation of girls into STEM careers and hope that children who see my Barbie will realize how vital careers in science are to help the world around us,” she said. “My wish is that my doll will show children careers they may not be aware of, like a vaccinologist.”\u003c/p>\n\u003ch3>Six women are being honored with Barbies\u003c/h3>\n\u003cp>Gilbert is one of the six women Mattel Inc has recognized as role models in the fight against COVID-19. According to the \u003ca href=\"https://corporate.mattel.com/news/mattel-once-again-says-thankyouheroes-by-supporting-first-responders-childrens-foundation-and-honoring-global-frontline-medical-workers-with-one-of-a-kind-barbie-dolls\" target=\"_blank\" rel=\"noopener noreferrer\">toymaker\u003c/a>, the five other honorees are U.S. health care workers Dr. Audrey Sue Cruz and emergency room nurse Amy O’Sullivan, Canadian doctor and advocate against systemic racism in health care Chicka Stacy Oriuwa, Brazilian biomedical researcher Dr. Jaqueline Goes de Jesus and Australian doctor and protective gown developer Kirby White.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Barbie recognizes that all frontline workers have made tremendous sacrifices when confronting the pandemic and the challenges it heightened,” said Lisa McKnight, senior vice president and global head of Barbie and Dolls at Mattel. “To shine a light on their efforts, we are sharing their stories.”\u003c/p>\n\u003cp>She added that she hopes the new launch “inspires the next generation to take after these heroes.”\u003c/p>\n\u003cfigure id=\"attachment_13900776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/gettyimages-1233399583_wide-54f2a2a572a81f2012b31b54adae9af61ebd3bd3-800x450.jpg\" alt=\"Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Sarah Gilbert, co-developer of the Oxford/AstraZeneca vaccine against COVID-19, has been honored with a Barbie doll in her image. \u003ccite>(Steve Parsons/PA Images via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Oxford/AstraZeneca vaccine co-developer has been producing and testing vaccines for over a decade, according to her \u003ca href=\"https://www.ox.ac.uk/news-and-events/find-an-expert/professor-sarah-gilbert\" target=\"_blank\" rel=\"noopener noreferrer\">Oxford University profile\u003c/a>. And just last month, the now widely available vaccine \u003ca href=\"https://twitter.com/UniofOxford/status/1421096992881659910?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1421096992881659910%7Ctwgr%5E%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.washingtonpost.com%2Fworld%2F2021%2F08%2F04%2Fvaccinologist-barbie-sarah-gilbert-coronavirus%2F\" target=\"_blank\" rel=\"noopener noreferrer\">set a distribution\u003c/a> milestone of 1 billion doses.\u003c/p>\n\u003cp>As of this year, only \u003ca href=\"https://www.stemwomen.co.uk/blog/2021/01/women-in-stem-percentages-of-women-in-stem-statistics\" target=\"_blank\" rel=\"noopener noreferrer\">35% of STEM students are women\u003c/a>, according to STEM Women, a U.K. organization dedicated to increasing the number of women in the STEM workforce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem> Xcaret Nuñez is an intern with NPR’s News Desk\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mattel%27s+Barbie+Turns+Women+Of+Science%2C+Including+COVID+Vaccine+Developer%2C+Into+Dolls&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two Northern California astrophotographers have been shortlisted for the prestigious Astronomy Photographer of the Year Award. The prize, organized by the \u003ca href=\"https://www.rmg.co.uk/royal-observatory\" target=\"_blank\" rel=\"noopener noreferrer\">Royal Observatory Greenwich\u003c/a> in England and open to photographers from around the world, comes with an award of £10,000 (about $14,000). The shortlisted images, chosen from over 4,500 entries from 75 countries, will be displayed this month in London’s National Maritime Museum. The winner will be announced on Sept. 16.\u003c/p>\n\u003cp>Sacramento astrophotographer \u003ca href=\"https://cosmicbackground.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew McCarthy\u003c/a> was shortlisted for a piece titled \u003cem>The Magnetic Field of our Active Sun. \u003c/em>McCarthy told the Royal Observatory: “This image shows how the magnetic field pulls up portions of the chromosphere following a large solar flare, with the magnetic field lines on crystal clear display along the limb in Hydrogen-Alpha light.” On \u003ca href=\"https://www.instagram.com/cosmic_background\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, he described the image simply as, “Our star caught in a vulnerable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13900592\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-800x798.png\" alt=\"'The Magnetic Field of our Active Sun' by Sacramento photographer Andrew McCarthy.\" width=\"800\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-768x766.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM.png 1338w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Magnetic Field of our Active Sun’ by Sacramento photographer Andrew McCarthy. \u003ccite>(Instagram/ @cosmic_background)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCarthy, who was born and raised in California’s capital, recently left a career in software to pursue astrophotography full-time. He says his love of space initially began in childhood, inspired by his father’s telescope. “Nowadays,” he tells KQED, “my peers inspire me. They remind me there is always more to learn and there is an infinite amount of growth potential in [astrophotography].”\u003c/p>\n\u003cp>Also shortlisted for the prize is Mountain View resident \u003ca href=\"https://marcinzajac.square.site/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcin Zając\u003c/a>. It’s the third year in a row that Zając has been selected, this time for his stunning \u003cem>Alien Throne\u003c/em> photograph, seen below.\u003c/p>\n\u003cfigure id=\"attachment_13900591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-800x1199.png\" alt=\"'Alien Throne' by Marcin Zając.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-800x1199.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-1020x1529.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM.png 1062w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Alien Throne’ by Marcin Zając. \u003ccite>(Instagram/ @mrcnzajac)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zając took the ethereal shot in the San Juan Basin of New Mexico, during a mid-pandemic camping trip to “the most remote areas” he’d ever visited on American soil. Zając, who is originally from Warsaw, Poland, described his image to the Royal Observatory as “an otherworldly rock spire (also known as a hoodoo), ris[ing] out of the badlands, forming a perfect foreground to the Milky Way galaxy above.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Zając added on \u003ca href=\"https://www.instagram.com/mrcnzajac/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>: “The bright objects to the left of the hoodoo are the planetary duo of Jupiter and Saturn which were unusually close that night.”\u003c/p>\n\u003cp>Zając, who works in tech, has lived in the Bay Area for eight years. He says that the coastline between San Francisco and Big Sur is one of his favorite places to shoot. “First and foremost, I am inspired by nature and beautiful landscapes,” he tells KQED. “Luckily, the greater Bay Area is a great place for photography.” As for the shortlist, Zając adds, “Winning the competition would be a huge honor. I’m actually honored just to be nominated.”\u003c/p>\n\u003cp>McCarthy, too, looks forward to the September results. “A win would be a huge personal accomplishment, and make me feel validated and accepted among the astrophotography community,” he tells KQED. “I would feel extraordinarily humbled if my work was chosen over all the incredible work of my peers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.rmg.co.uk/national-maritime-museum/astronomy-photographer-year-2021-shortlist-images\" target=\"_blank\" rel=\"noopener noreferrer\">full collection of shortlisted photographs\u003c/a> can be seen on the Royal Museums Greenwich website now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two Northern California astrophotographers have been shortlisted for the prestigious Astronomy Photographer of the Year Award. The prize, organized by the \u003ca href=\"https://www.rmg.co.uk/royal-observatory\" target=\"_blank\" rel=\"noopener noreferrer\">Royal Observatory Greenwich\u003c/a> in England and open to photographers from around the world, comes with an award of £10,000 (about $14,000). The shortlisted images, chosen from over 4,500 entries from 75 countries, will be displayed this month in London’s National Maritime Museum. The winner will be announced on Sept. 16.\u003c/p>\n\u003cp>Sacramento astrophotographer \u003ca href=\"https://cosmicbackground.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew McCarthy\u003c/a> was shortlisted for a piece titled \u003cem>The Magnetic Field of our Active Sun. \u003c/em>McCarthy told the Royal Observatory: “This image shows how the magnetic field pulls up portions of the chromosphere following a large solar flare, with the magnetic field lines on crystal clear display along the limb in Hydrogen-Alpha light.” On \u003ca href=\"https://www.instagram.com/cosmic_background\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>, he described the image simply as, “Our star caught in a vulnerable moment.”\u003c/p>\n\u003cfigure id=\"attachment_13900592\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-800x798.png\" alt=\"'The Magnetic Field of our Active Sun' by Sacramento photographer Andrew McCarthy.\" width=\"800\" height=\"798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM-768x766.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-11.47.45-AM.png 1338w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Magnetic Field of our Active Sun’ by Sacramento photographer Andrew McCarthy. \u003ccite>(Instagram/ @cosmic_background)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCarthy, who was born and raised in California’s capital, recently left a career in software to pursue astrophotography full-time. He says his love of space initially began in childhood, inspired by his father’s telescope. “Nowadays,” he tells KQED, “my peers inspire me. They remind me there is always more to learn and there is an infinite amount of growth potential in [astrophotography].”\u003c/p>\n\u003cp>Also shortlisted for the prize is Mountain View resident \u003ca href=\"https://marcinzajac.square.site/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcin Zając\u003c/a>. It’s the third year in a row that Zając has been selected, this time for his stunning \u003cem>Alien Throne\u003c/em> photograph, seen below.\u003c/p>\n\u003cfigure id=\"attachment_13900591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-800x1199.png\" alt=\"'Alien Throne' by Marcin Zając.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-800x1199.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-1020x1529.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-160x240.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-768x1151.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM-1025x1536.png 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Screen-Shot-2021-08-03-at-10.39.30-AM.png 1062w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Alien Throne’ by Marcin Zając. \u003ccite>(Instagram/ @mrcnzajac)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zając took the ethereal shot in the San Juan Basin of New Mexico, during a mid-pandemic camping trip to “the most remote areas” he’d ever visited on American soil. Zając, who is originally from Warsaw, Poland, described his image to the Royal Observatory as “an otherworldly rock spire (also known as a hoodoo), ris[ing] out of the badlands, forming a perfect foreground to the Milky Way galaxy above.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zając added on \u003ca href=\"https://www.instagram.com/mrcnzajac/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>: “The bright objects to the left of the hoodoo are the planetary duo of Jupiter and Saturn which were unusually close that night.”\u003c/p>\n\u003cp>Zając, who works in tech, has lived in the Bay Area for eight years. He says that the coastline between San Francisco and Big Sur is one of his favorite places to shoot. “First and foremost, I am inspired by nature and beautiful landscapes,” he tells KQED. “Luckily, the greater Bay Area is a great place for photography.” As for the shortlist, Zając adds, “Winning the competition would be a huge honor. I’m actually honored just to be nominated.”\u003c/p>\n\u003cp>McCarthy, too, looks forward to the September results. “A win would be a huge personal accomplishment, and make me feel validated and accepted among the astrophotography community,” he tells KQED. “I would feel extraordinarily humbled if my work was chosen over all the incredible work of my peers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.rmg.co.uk/national-maritime-museum/astronomy-photographer-year-2021-shortlist-images\" target=\"_blank\" rel=\"noopener noreferrer\">full collection of shortlisted photographs\u003c/a> can be seen on the Royal Museums Greenwich website now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "More California Music Venues Require Vaccinations, Negative COVID Tests for Entry",
"headTitle": "More California Music Venues Require Vaccinations, Negative COVID Tests for Entry | KQED",
"content": "\u003cp>Like most performing artists, \u003ca href=\"https://www.instagram.com/lilthowwow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Thow Wow\u003c/a> couldn’t wait to get back out there. The Oakland DJ, real name Jonathan Anabo, had to put a pause on gigs during the COVID-19 shutdown. Once he was fully vaccinated, and Governor Gavin Newsom lifted California’s restrictions in June, Anabo began spinning records at local bars and venues again.\u003c/p>\n\u003cp>But a wake-up call came earlier this month when he started feeling sick and tested positive for COVID-19. He knows of several other breakthrough cases among vaccinated people in his circle. Indeed, \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are rising\u003c/a> nationally and in the Bay Area.\u003c/p>\n\u003cp>Fully vaccinated people tend to experience fewer, less severe \u003ca href=\"https://www.kqed.org/news/11882027/worried-about-breakthrough-covid-cases-heres-what-to-know\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms, and they typically don’t require hospitalization\u003c/a>. Still, the trend has alarmed health experts, and California public health officials once again recommend masking, regardless of vaccine status, in \u003ca href=\"https://www.cbs8.com/article/news/health/coronavirus/vaccine/california-health-officials-join-cdc-recommend-mask-wearing-indoors/509-f052f7e4-bb31-4dd7-8fb2-a91ddc9e396b\" target=\"_blank\" rel=\"noopener noreferrer\">all indoor public settings\u003c/a>.\u003c/p>\n\u003cp>“Ever since they dropped the mask mandate and were more lax about it—I feel like they just did it too soon,” Anabo says of the state’s reopening in June.\u003c/p>\n\u003cp>Anabo is feeling better and has completed his doctor-recommended 10-day quarantine. But as the more contagious \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">Delta variant\u003c/a> continues to spread, he’s resolved to only play outdoor parties for the foreseeable future, and he supports the idea of bars and music venues requiring proof of vaccination for entry.\u003c/p>\n\u003cp>“I would encourage that. How can you be a business, especially a POC business, and you’re endangering your patrons, your workers?” he says, adding that he’s also sympathetic to the financial struggles small venues face. “What will you have left after everybody gets sick?” [aside postid='arts_13898639']\u003c/p>\n\u003cp>Vaccination requirements for businesses has been a controversial topic since California lifted restrictions. In May, Oakland bar and music venue Eli’s Mile High Club became one of the first to require patrons to present vaccine cards at the door along with their IDs. And although the new policy was greeted with relief from many COVID-cautious customers, others slammed the bar on social media and even \u003ca href=\"https://www.sfgate.com/food/article/Oakland-Elis-Mile-High-Club-vaccine-card-contact-16189454.php\" target=\"_blank\" rel=\"noopener noreferrer\">questioned its punk credibility\u003c/a>.\u003c/p>\n\u003cp>Now, Eli’s seems to have been ahead of the curve. Experiences like Anabo’s are why the San Francisco Bar Owner Alliance is now requiring proof of vaccination or a negative COVID test for indoor service at its 300 participating bars. And music venues and nightclubs like Rickshaw Stop, Oasis, F8, The Independent and Bill Graham Civic Auditorium are doing the same.\u003c/p>\n\u003cp>The San Francisco Venue Coalition (SFVC) and the California chapter of the National Independent Venue Association (NIVA) haven’t yet adopted a formal position, but organizers say that most of their participating music venues are already either checking vaccine cards and negative COVID tests or are planning on doing so. [aside postid='news_11882487']\u003c/p>\n\u003cp>“It’s a very active, developing situation,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium in San Francisco and an organizer with both SFVC and NIVA. Lowdermilk says he supports the San Francisco Bar Owner Alliance’s policy, and is working with other music venue leaders in San Francisco on an official statement.\u003c/p>\n\u003cp>“We are primarily public assembly experts at keeping people safe and healthy,” he adds, noting the way venues have nimbly adapted to threats of mass shootings in previous years. “And that’s not changing with this pandemic.”\u003c/p>\n\u003cp>Another Planet Entertainment, the San Francisco company that operates Bill Graham Civic Auditorium and several other prominent Bay Area venues, checked for vaccination status at a recent show at Berkeley’s Greek Theatre. “There was a very small, vocal group that had objections,” Lowdermilk says. “But I think the wide, wide majority of people get it. They like it.”\u003c/p>\n\u003cfigure id=\"attachment_13900389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Strachota, talent buyer at the Rickshaw Stop, says most customers appreciate that the venue requires proof of vaccine for entry. \u003ccite>(Dirk Wise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NIVA California lobbyist Alex Torres says many venues in Sacramento and Los Angeles are also starting to admit vaccinated patrons only. In fact, for some places, rather than hamper business, the policy has led to more ticket sales. “In the Northern California, Sacramento Valley region, it’s actually really helped pick up business for some of the local venues because of folks wanting to seek out a safe place to go to a show,” Torres explains.\u003c/p>\n\u003cp>That’s a hopeful sign for an industry still struggling from the financial fallout of the pandemic. Dan Strachota, talent buyer at the Rickshaw Stop, says he’s gotten pushback on the policy from a couple of talent agents and anti-vaxxers on Twitter. But for the most part, artists, workers and show-goers appreciate being in an all-vaccinated room.\u003c/p>\n\u003cp>After a year with no business, mounting debt and \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">long-delayed federal aid\u003c/a>, the last thing independent venues need is another shutdown, Strachota says. That means we all have a collective responsibility to mitigate the spread of the virus.\u003c/p>\n\u003cp>“We’re on a precipice again,” Strachota says. “And if we don’t get this done now we’re headed for another shutdown. We’ve gotten hope again. It’d be so horrible to see it dashed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like most performing artists, \u003ca href=\"https://www.instagram.com/lilthowwow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Thow Wow\u003c/a> couldn’t wait to get back out there. The Oakland DJ, real name Jonathan Anabo, had to put a pause on gigs during the COVID-19 shutdown. Once he was fully vaccinated, and Governor Gavin Newsom lifted California’s restrictions in June, Anabo began spinning records at local bars and venues again.\u003c/p>\n\u003cp>But a wake-up call came earlier this month when he started feeling sick and tested positive for COVID-19. He knows of several other breakthrough cases among vaccinated people in his circle. Indeed, \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are rising\u003c/a> nationally and in the Bay Area.\u003c/p>\n\u003cp>Fully vaccinated people tend to experience fewer, less severe \u003ca href=\"https://www.kqed.org/news/11882027/worried-about-breakthrough-covid-cases-heres-what-to-know\" target=\"_blank\" rel=\"noopener noreferrer\">symptoms, and they typically don’t require hospitalization\u003c/a>. Still, the trend has alarmed health experts, and California public health officials once again recommend masking, regardless of vaccine status, in \u003ca href=\"https://www.cbs8.com/article/news/health/coronavirus/vaccine/california-health-officials-join-cdc-recommend-mask-wearing-indoors/509-f052f7e4-bb31-4dd7-8fb2-a91ddc9e396b\" target=\"_blank\" rel=\"noopener noreferrer\">all indoor public settings\u003c/a>.\u003c/p>\n\u003cp>“Ever since they dropped the mask mandate and were more lax about it—I feel like they just did it too soon,” Anabo says of the state’s reopening in June.\u003c/p>\n\u003cp>Anabo is feeling better and has completed his doctor-recommended 10-day quarantine. But as the more contagious \u003ca href=\"https://www.kqed.org/news/11881585/with-the-delta-variant-spreading-fast-is-it-time-to-mask-up-again\" target=\"_blank\" rel=\"noopener noreferrer\">Delta variant\u003c/a> continues to spread, he’s resolved to only play outdoor parties for the foreseeable future, and he supports the idea of bars and music venues requiring proof of vaccination for entry.\u003c/p>\n\u003cp>“I would encourage that. How can you be a business, especially a POC business, and you’re endangering your patrons, your workers?” he says, adding that he’s also sympathetic to the financial struggles small venues face. “What will you have left after everybody gets sick?” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vaccination requirements for businesses has been a controversial topic since California lifted restrictions. In May, Oakland bar and music venue Eli’s Mile High Club became one of the first to require patrons to present vaccine cards at the door along with their IDs. And although the new policy was greeted with relief from many COVID-cautious customers, others slammed the bar on social media and even \u003ca href=\"https://www.sfgate.com/food/article/Oakland-Elis-Mile-High-Club-vaccine-card-contact-16189454.php\" target=\"_blank\" rel=\"noopener noreferrer\">questioned its punk credibility\u003c/a>.\u003c/p>\n\u003cp>Now, Eli’s seems to have been ahead of the curve. Experiences like Anabo’s are why the San Francisco Bar Owner Alliance is now requiring proof of vaccination or a negative COVID test for indoor service at its 300 participating bars. And music venues and nightclubs like Rickshaw Stop, Oasis, F8, The Independent and Bill Graham Civic Auditorium are doing the same.\u003c/p>\n\u003cp>The San Francisco Venue Coalition (SFVC) and the California chapter of the National Independent Venue Association (NIVA) haven’t yet adopted a formal position, but organizers say that most of their participating music venues are already either checking vaccine cards and negative COVID tests or are planning on doing so. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a very active, developing situation,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium in San Francisco and an organizer with both SFVC and NIVA. Lowdermilk says he supports the San Francisco Bar Owner Alliance’s policy, and is working with other music venue leaders in San Francisco on an official statement.\u003c/p>\n\u003cp>“We are primarily public assembly experts at keeping people safe and healthy,” he adds, noting the way venues have nimbly adapted to threats of mass shootings in previous years. “And that’s not changing with this pandemic.”\u003c/p>\n\u003cp>Another Planet Entertainment, the San Francisco company that operates Bill Graham Civic Auditorium and several other prominent Bay Area venues, checked for vaccination status at a recent show at Berkeley’s Greek Theatre. “There was a very small, vocal group that had objections,” Lowdermilk says. “But I think the wide, wide majority of people get it. They like it.”\u003c/p>\n\u003cfigure id=\"attachment_13900389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900389\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/071521RickshawStop_003-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Strachota, talent buyer at the Rickshaw Stop, says most customers appreciate that the venue requires proof of vaccine for entry. \u003ccite>(Dirk Wise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>NIVA California lobbyist Alex Torres says many venues in Sacramento and Los Angeles are also starting to admit vaccinated patrons only. In fact, for some places, rather than hamper business, the policy has led to more ticket sales. “In the Northern California, Sacramento Valley region, it’s actually really helped pick up business for some of the local venues because of folks wanting to seek out a safe place to go to a show,” Torres explains.\u003c/p>\n\u003cp>That’s a hopeful sign for an industry still struggling from the financial fallout of the pandemic. Dan Strachota, talent buyer at the Rickshaw Stop, says he’s gotten pushback on the policy from a couple of talent agents and anti-vaxxers on Twitter. But for the most part, artists, workers and show-goers appreciate being in an all-vaccinated room.\u003c/p>\n\u003cp>After a year with no business, mounting debt and \u003ca href=\"https://www.kqed.org/arts/13898639/further-federal-grant-delays-put-independent-venues-in-dire-straits\" target=\"_blank\" rel=\"noopener noreferrer\">long-delayed federal aid\u003c/a>, the last thing independent venues need is another shutdown, Strachota says. That means we all have a collective responsibility to mitigate the spread of the virus.\u003c/p>\n\u003cp>“We’re on a precipice again,” Strachota says. “And if we don’t get this done now we’re headed for another shutdown. We’ve gotten hope again. It’d be so horrible to see it dashed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"science-friday": {
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