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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kids, this comic is for you.\u003c/p>\n\u003cp>It’s based on a radio story that NPR education reporter Cory Turner did. He asked some experts what kids might want to know about the new coronavirus discovered in China.\u003c/p>\n\u003cp>To make this comic, we’ve used his interviews with \u003ca href=\"https://socialwork.illinois.edu/faculty-staff/tara-powell/?doing_wp_cron=1582845301.1810801029205322265625\">Tara Powell\u003c/a> at the University of Illinois School of Social Work, \u003ca href=\"https://www.medschool.lsuhsc.edu/Pediatrics/faculty_detail.aspx?name=osofsky_joy\">Joy Osofsky\u003c/a> at the LSU Health Sciences Center in New Orleans and\u003ca href=\"https://www.linkedin.com/in/krystal-lewis-011a7227/\"> Krystal Lewis\u003c/a> at the National Institute of Mental Health.\u003c/p>\n\u003cp>Print and fold \u003ca href=\"https://drive.google.com/file/d/1PYrKYfOBa4p-azI5z_46KJMbi1FSmL_Y/view?usp=sharing\">\u003cstrong>a zine version of this comic\u003c/strong>\u003c/a> here. Here are \u003ca href=\"https://www.youtube.com/watch?v=Ixqr9e3wCxI\">\u003cstrong>directions\u003c/strong>\u003c/a> on how to fold it. To read this comic in Chinese, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/06/811752935/\">\u003cstrong>click here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13876201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_1_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-160x350.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-768x1680.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876203 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_3_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876204 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_4_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876205 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_5_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-160x450.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-768x2160.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876206 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-160x264.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-768x1267.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Malaka Gharib is an NPR editor and the author and illustrator of \u003c/em>\u003ca href=\"https://www.penguinrandomhouse.com/books/575400/i-was-their-american-dream-by-malaka-gharib/\">I Was Their American Dream: A Graphic Memoir\u003c/a>, \u003cem>about being first-generation Filipino Egyptian American. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "You may have heard the word \"coronavirus\" online or on TV. You probably have a lot of questions. Check out our comic to get some answers — and print out a zine version at home.",
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"title": "Just For Kids: A Comic Exploring The New Coronavirus | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kids, this comic is for you.\u003c/p>\n\u003cp>It’s based on a radio story that NPR education reporter Cory Turner did. He asked some experts what kids might want to know about the new coronavirus discovered in China.\u003c/p>\n\u003cp>To make this comic, we’ve used his interviews with \u003ca href=\"https://socialwork.illinois.edu/faculty-staff/tara-powell/?doing_wp_cron=1582845301.1810801029205322265625\">Tara Powell\u003c/a> at the University of Illinois School of Social Work, \u003ca href=\"https://www.medschool.lsuhsc.edu/Pediatrics/faculty_detail.aspx?name=osofsky_joy\">Joy Osofsky\u003c/a> at the LSU Health Sciences Center in New Orleans and\u003ca href=\"https://www.linkedin.com/in/krystal-lewis-011a7227/\"> Krystal Lewis\u003c/a> at the National Institute of Mental Health.\u003c/p>\n\u003cp>Print and fold \u003ca href=\"https://drive.google.com/file/d/1PYrKYfOBa4p-azI5z_46KJMbi1FSmL_Y/view?usp=sharing\">\u003cstrong>a zine version of this comic\u003c/strong>\u003c/a> here. Here are \u003ca href=\"https://www.youtube.com/watch?v=Ixqr9e3wCxI\">\u003cstrong>directions\u003c/strong>\u003c/a> on how to fold it. To read this comic in Chinese, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2020/03/06/811752935/\">\u003cstrong>click here.\u003c/strong>\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13876201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_1_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-160x350.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_1_web_custom-768x1680.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876203 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_3_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_3_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876204 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_4_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-160x421.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_4_web_custom-768x2021.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876205 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_5_web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"2250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-160x450.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_5_web_custom-768x2160.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13876206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876206 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg\" alt=\"Malaka Gharib / NPR\" width=\"800\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-160x264.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/cov_6_m-web_custom-768x1267.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malaka Gharib / NPR\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Malaka Gharib is an NPR editor and the author and illustrator of \u003c/em>\u003ca href=\"https://www.penguinrandomhouse.com/books/575400/i-was-their-american-dream-by-malaka-gharib/\">I Was Their American Dream: A Graphic Memoir\u003c/a>, \u003cem>about being first-generation Filipino Egyptian American. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "a-secret-weapon-of-the-progressive-left-furries",
"title": "A Secret Weapon of the Progressive Left: Furries",
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"headTitle": "A Secret Weapon of the Progressive Left: Furries | KQED",
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"content": "\u003cp>Patch O’Furr was running on five hours of sleep.\u003c/p>\n\u003cp>He’d stayed out late with his furry friends the night before. But Bernie Sanders’ campaign rally in Richmond was starting soon, so he and his squad woke up early and piled in the car. Since his purple-haired rat costume was still in the trunk, he put on the fur suit and scrawled “Furries 4 Bernie” in large block letters with Sharpie on a piece of cardboard.\u003c/p>\n\u003cp>As thousands of Sanders supporters lined up around the Craneway Pavilion to hear the senator’s speech on Feb. 17, people of all ages, including families with kids, stopped O’Furr every few feet for photos. \u003ca href=\"https://jacobinmag.com/2019/07/nancy-pelosi-shahid-buttar-primary-challenge\" target=\"_blank\" rel=\"noopener noreferrer\">Shahid Buttar\u003c/a>, the democratic socialist running to unseat House Speaker Nancy Pelosi, posed for a picture and invited O’Furr to volunteer for his congressional campaign, noting that a giant rodent toting a slogan could have the impact of 50 regular volunteers.\u003c/p>\n\u003cp>“We’re here, we are furries, we are for Bernie, let’s do this,” says O’Furr, a 42-year-old Richmond artist and e-commerce entrepreneur who runs the furry news blog \u003ca href=\"https://dogpatch.press/\" target=\"_blank\" rel=\"noopener noreferrer\">Dogpatch Press\u003c/a>. “We’re not an organization, we’re just doing what we love.”\u003c/p>\n\u003cp>O’Furr is part of niche yet enthusiastic subculture centered around a love for anthropomorphic animal characters. Furries attend conventions and gatherings, make and commission artwork of their alter egos (or “fursonas”), chat with fellow enthusiasts online and dress up in fur suits that represent their animal identities. (The subculture has a reputation for being a sexual kink, but the furries I spoke with for this story say that aspect is overly sensationalized in the media and doesn’t represent the entire fandom.)\u003c/p>\n\u003cp>This election season, furries are entering the political arena in growing numbers. And while they might seem like an unlikely constituency to rally support for candidates, the fandom’s outsider outlook and robust social networks—both on and offline—make it particularly poised to mobilize for the progressive left ahead of the Democratic primary in California and nationwide.\u003c/p>\n\u003cfigure id=\"attachment_13875659\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/wild.jpg\" alt=\"Wild, an East Bay resident, canvasses for Bernie Sanders and is the head of a group called Bernie Sanders Furs.\" width=\"744\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/wild.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/wild-160x206.jpg 160w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003cfigcaption class=\"wp-caption-text\">Wild, an East Bay resident, canvasses for Bernie Sanders and is the head of a group called Bernie Sanders Furs. \u003ccite>(Courtesy of Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Subculture Ready to Get the Vote Out\u003c/h2>\n\u003cp>Typically, furries find one another on Twitter and the chat platform Telegram, and meet in person at conventions like San Jose’s Further Confusion (FurCon), Midwest FurFest and Anthrocon, and dance parties like DJ NeonBunny’s monthly Frolic party at the Eagle in San Francisco. For many, the community is a chosen family that welcomes those who may feel socially ostracized. The fandom doesn’t revolve around a specific commercial entity, in contrast to subcultures that form around anime, video games or Star Wars. Instead, furry culture, much like the punk scene, emphasizes do-it-yourself participation and person-to-person connections. In essence, the people who make up the subculture invent it in real time.\u003c/p>\n\u003cp>“We’ve always been a deep-seated community of people who need somewhere to go, somewhere to find a universal love,” says Berry Pecan Tart, a 33-year-old barista from Napa who came out “of the cage” as a furry this year (his fursona is a California black bear). It was a moment of self-actualization that coincided with his joining the Democratic Socialists of America. With the DSA, he recently volunteered to fix car headlights to help undocumented immigrants avoid traffic stops that leave them vulnerable to deportation.\u003c/p>\n\u003cp>With many LGBTQ+ and neurodiverse people among their ranks, furries largely embrace progressive causes. “\u003cspan style=\"font-weight: 400\">I know many furries doing phone banking, primarily in favor of Bernie Sanders—overwhelmingly, I would say—in Iowa and New Hampshire,” says \u003ca href=\"https://twitter.com/Kamunt\" target=\"_blank\" rel=\"noopener noreferrer\">Kamunt Kurush\u003c/a>, a 29-year-old student and furry in the Chicago area who uses his Twitter platform to live tweet the Democratic debates and promote left-wing candidates (his fursona is a cheetah). Recently, Buttar’s campaign noticed Kurush’s \u003c/span>\u003cspan style=\"font-weight: 400\">enthusiastic posts and invited him to a private direct message group of people promoting the candidate’s pro-Medicare for All, pro-Green New Deal message. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I knew somebody who even went to New Hampshire to knock on doors [for Sanders],” Kurush says of the furry community’s dedication. “A friend of mine who lives in San Francisco has volunteered for Shahid Buttar’s campaign to do some canvassing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a previous generation, a politician running for congress might not have wanted to be affiliated with a subculture widely seen as fringe. But Buttar embraces the furry vote. “My recognition of the value of furries, my recognition of the value of subcultures generally is rooted in my own identity as an artist,” says Buttar, adding that countercultural groups have pushed progressive political ideas into the mainstream throughout history. “It’s not just furries—anyone who’s willing to raise their voice and be creative, artists, are the lifeblood of our community and our culture writ large.”\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/broderick/status/848586734640263168?s=20\u003c/p>\n\u003cp>An East Bay resident who goes by Wild (his fursona is a lion) runs a national Telegram chat called Bernie Sanders Furs, where furries spread information about Sanders rallies and volunteer opportunities, and share memes and articles. He canvassed for Sanders over the past two weekends, and says Sanders’ emphasis on fighting economic inequality and taxing extreme wealth are front-of-mind for the furry community, which is largely millennial and burdened with student loan debt and stagnant wages.\u003c/p>\n\u003cp>“The furry fandom as a whole, our interactions are recreational, and we have a lot of artists,” Wild says, adding that Medicare for All would be a huge boon for self-employed fur suit makers and fursona illustrators who can’t afford healthcare. “When people can’t feed their families, the luxury of the furry fandom can’t really exist. It’s hard to go to furry conventions when you can’t make rent.”\u003c/p>\n\u003cp>“I haven’t had healthcare since 2007,” says O’Furr. “This is why Bernie is the guy. And Green New Deal also—if you talk about, well, what do furries have to do with politics? If you look at climate change, we are going to be losing so many habitats, so many species. It’s going to affect everything that we do, everything that we eat, the places we live. We need a Green New Deal and to get off of fossil fuels.”\u003c/p>\n\u003ch2>Ideological Clashes and the Rise of Alt-Furries\u003c/h2>\n\u003cp>Not all of the furry fandom, however, embraces social and environmental justice causes. In 2015, when the white nationalist movement began to gain mainstream traction during Donald Trump’s presidential campaign, a \u003ca href=\"https://medium.com/@DeoTasDevil/how-white-nationalism-courts-internet-nerd-culture-b4ebad07863d\" target=\"_blank\" rel=\"noopener noreferrer\">scourge of neo-Nazism\u003c/a> took hold among furries. A group called the Furry Raiders began wearing Nazi-esque uniforms and armbands over their fur suits at conventions.\u003c/p>\n\u003cp>In 2017, the Rocky Mountain Fur Con in Denver \u003ca href=\"https://www.rollingstone.com/culture/culture-features/does-the-furry-community-have-a-nazi-problem-194282/\" target=\"_blank\" rel=\"noopener noreferrer\">was cancelled\u003c/a> over a controversy over the Furry Raiders that resulted in threats of violence. Eventually, the group’s leader Foxler—real name Lee Miller—was exposed as an accused child predator, and currently \u003ca href=\"https://en.wikifur.com/w/images/b/b5/CaseSummary-update-02142020-case-update-foxler-starfire-lee-miller-denver-colorado.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">awaits criminal trial\u003c/a> for sex crimes in Colorado.\u003c/p>\n\u003cp>Deo, a 28-year-old union steelworker from Iowa (her fursona is a Tasmanian devil), has been one of the most active furries in the fight against hate groups within the fandom. She explains that the alt-right targets furries because of the large amount of socially awkward, young, alienated white men among them.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.vox.com/2014/9/6/6111065/gamergate-explained-everybody-fighting\" target=\"_blank\" rel=\"noopener noreferrer\">Gamergate\u003c/a> was sort of winding down [around 2015], and you had all these angry people who were semi-organized and realized anger had power,” she says, referring to the online harassment campaign waged by gamers against women in the video game industry. “White nationalists saw the opportunity that you have a bunch of angry young men on the internet, and you can ply them with whatever kind of propaganda you want.”\u003c/p>\n\u003cfigure id=\"attachment_13875594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/deo-800x745.jpg\" alt=\"Doe the Tasmanian devil, a union steelworker from Iowa, has played a key role in exposing white nationalism within the furry fandom.\" width=\"800\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/deo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/deo-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/deo-768x715.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doe the Tasmanian devil, a union steelworker from Iowa, has played a key role in exposing white nationalism within the furry fandom. \u003ccite>(Courtesy of Deo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the alt-right movement grew after the 2016 election, its activists developed techniques for courting furries with animal-oriented racist media (including a baffling cover of a \u003cem>Lion King\u003c/em> song with lyrics celebrating white supremacy that Deo discovered in an alt-furry chat). Deo and other anti-fascist furries began infiltrating alt-furry online groups to keep tabs on their plans for recruitment.\u003c/p>\n\u003cp>“Our events combat this alt-right push. A lot of conventions have banned their leadership,” says Deo, adding that she’s been doxxed and physically threatened for this work. “As far as I know of, every convention has banned hate paraphernalia. There’s a lot more community involvement now: people are aware, they’re talking about it, they’re looking out for each other.”\u003c/p>\n\u003cp>With alt-right ringleaders like Milo Yiannopoulos banned from Twitter and no longer making frequent news headlines, the alt-furry movement has, too, somewhat receded into the shadows. Deo says she’s been involved in restorative justice work to help de-radicalize those leaving hate groups.\u003c/p>\n\u003cp>“It can be one of the hardest subjects to tackle, especially when we’re talking about getting people to realize the harm that they’ve committed,” Deo says. “And then committing to making that change, taking that personal responsibility, and working on reintegration of those people into our community so they have community support and don’t fall back into those groups.”\u003c/p>\n\u003ch2>A Wide Network Mobilizing for Super Tuesday\u003c/h2>\n\u003cp>Dogpatch Press—which gets anywhere from 20,000–50,000 monthly views—helped chronicle the turmoil inside the fandom, with posts exposing \u003ca href=\"https://dogpatch.press/2018/02/07/altfurry-hate-part-2/\" target=\"_blank\" rel=\"noopener noreferrer\">leaked alt-furry chat logs\u003c/a> and identifying an alt-furry who marched with neo-Nazis in \u003ca href=\"https://dogpatch.press/2017/08/14/altfurry-neo-nazi-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">Charlottesville\u003c/a> in 2017. [aside postID='arts_13847704,arts_13851697,arts_13874735' label='More on arts and activism']\u003c/p>\n\u003cp>And in addition to combating hate groups, Deo has been doing her part ahead of the election, too. She canvassed ahead of the Iowa caucus and helped organize a Sanders rally in her state. Now, she’s sharing her experience for best practices for phone banking and knocking on doors with her furry friends across the country.\u003c/p>\n\u003cp>“People are in West Virginia or Ohio, and you can lend them help, too,” she says. “Like, ‘Hey, are you phone banking for Bernie? Here, I’ll get on my phone too and we can type on Discord chat together while we’re phone banking for these candidates.'”\u003c/p>\n\u003cp>The most surprising people can identify as furries, Deo says, like her cowboy friend from South Dakota who’s a democratic socialist. And with their shared interests already formed, their political networks are strong and wide.\u003c/p>\n\u003cp>“Furries are everywhere,” Deo explains. “We walk among you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Unexpected Support of Bernie Sanders: Furries | KQED",
"description": "Ahead of Super Tuesday, furries are canvassing and phone banking for democratic socialist candidates.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patch O’Furr was running on five hours of sleep.\u003c/p>\n\u003cp>He’d stayed out late with his furry friends the night before. But Bernie Sanders’ campaign rally in Richmond was starting soon, so he and his squad woke up early and piled in the car. Since his purple-haired rat costume was still in the trunk, he put on the fur suit and scrawled “Furries 4 Bernie” in large block letters with Sharpie on a piece of cardboard.\u003c/p>\n\u003cp>As thousands of Sanders supporters lined up around the Craneway Pavilion to hear the senator’s speech on Feb. 17, people of all ages, including families with kids, stopped O’Furr every few feet for photos. \u003ca href=\"https://jacobinmag.com/2019/07/nancy-pelosi-shahid-buttar-primary-challenge\" target=\"_blank\" rel=\"noopener noreferrer\">Shahid Buttar\u003c/a>, the democratic socialist running to unseat House Speaker Nancy Pelosi, posed for a picture and invited O’Furr to volunteer for his congressional campaign, noting that a giant rodent toting a slogan could have the impact of 50 regular volunteers.\u003c/p>\n\u003cp>“We’re here, we are furries, we are for Bernie, let’s do this,” says O’Furr, a 42-year-old Richmond artist and e-commerce entrepreneur who runs the furry news blog \u003ca href=\"https://dogpatch.press/\" target=\"_blank\" rel=\"noopener noreferrer\">Dogpatch Press\u003c/a>. “We’re not an organization, we’re just doing what we love.”\u003c/p>\n\u003cp>O’Furr is part of niche yet enthusiastic subculture centered around a love for anthropomorphic animal characters. Furries attend conventions and gatherings, make and commission artwork of their alter egos (or “fursonas”), chat with fellow enthusiasts online and dress up in fur suits that represent their animal identities. (The subculture has a reputation for being a sexual kink, but the furries I spoke with for this story say that aspect is overly sensationalized in the media and doesn’t represent the entire fandom.)\u003c/p>\n\u003cp>This election season, furries are entering the political arena in growing numbers. And while they might seem like an unlikely constituency to rally support for candidates, the fandom’s outsider outlook and robust social networks—both on and offline—make it particularly poised to mobilize for the progressive left ahead of the Democratic primary in California and nationwide.\u003c/p>\n\u003cfigure id=\"attachment_13875659\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/wild.jpg\" alt=\"Wild, an East Bay resident, canvasses for Bernie Sanders and is the head of a group called Bernie Sanders Furs.\" width=\"744\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/wild.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/wild-160x206.jpg 160w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003cfigcaption class=\"wp-caption-text\">Wild, an East Bay resident, canvasses for Bernie Sanders and is the head of a group called Bernie Sanders Furs. \u003ccite>(Courtesy of Wild)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Subculture Ready to Get the Vote Out\u003c/h2>\n\u003cp>Typically, furries find one another on Twitter and the chat platform Telegram, and meet in person at conventions like San Jose’s Further Confusion (FurCon), Midwest FurFest and Anthrocon, and dance parties like DJ NeonBunny’s monthly Frolic party at the Eagle in San Francisco. For many, the community is a chosen family that welcomes those who may feel socially ostracized. The fandom doesn’t revolve around a specific commercial entity, in contrast to subcultures that form around anime, video games or Star Wars. Instead, furry culture, much like the punk scene, emphasizes do-it-yourself participation and person-to-person connections. In essence, the people who make up the subculture invent it in real time.\u003c/p>\n\u003cp>“We’ve always been a deep-seated community of people who need somewhere to go, somewhere to find a universal love,” says Berry Pecan Tart, a 33-year-old barista from Napa who came out “of the cage” as a furry this year (his fursona is a California black bear). It was a moment of self-actualization that coincided with his joining the Democratic Socialists of America. With the DSA, he recently volunteered to fix car headlights to help undocumented immigrants avoid traffic stops that leave them vulnerable to deportation.\u003c/p>\n\u003cp>With many LGBTQ+ and neurodiverse people among their ranks, furries largely embrace progressive causes. “\u003cspan style=\"font-weight: 400\">I know many furries doing phone banking, primarily in favor of Bernie Sanders—overwhelmingly, I would say—in Iowa and New Hampshire,” says \u003ca href=\"https://twitter.com/Kamunt\" target=\"_blank\" rel=\"noopener noreferrer\">Kamunt Kurush\u003c/a>, a 29-year-old student and furry in the Chicago area who uses his Twitter platform to live tweet the Democratic debates and promote left-wing candidates (his fursona is a cheetah). Recently, Buttar’s campaign noticed Kurush’s \u003c/span>\u003cspan style=\"font-weight: 400\">enthusiastic posts and invited him to a private direct message group of people promoting the candidate’s pro-Medicare for All, pro-Green New Deal message. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I knew somebody who even went to New Hampshire to knock on doors [for Sanders],” Kurush says of the furry community’s dedication. “A friend of mine who lives in San Francisco has volunteered for Shahid Buttar’s campaign to do some canvassing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a previous generation, a politician running for congress might not have wanted to be affiliated with a subculture widely seen as fringe. But Buttar embraces the furry vote. “My recognition of the value of furries, my recognition of the value of subcultures generally is rooted in my own identity as an artist,” says Buttar, adding that countercultural groups have pushed progressive political ideas into the mainstream throughout history. “It’s not just furries—anyone who’s willing to raise their voice and be creative, artists, are the lifeblood of our community and our culture writ large.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>An East Bay resident who goes by Wild (his fursona is a lion) runs a national Telegram chat called Bernie Sanders Furs, where furries spread information about Sanders rallies and volunteer opportunities, and share memes and articles. He canvassed for Sanders over the past two weekends, and says Sanders’ emphasis on fighting economic inequality and taxing extreme wealth are front-of-mind for the furry community, which is largely millennial and burdened with student loan debt and stagnant wages.\u003c/p>\n\u003cp>“The furry fandom as a whole, our interactions are recreational, and we have a lot of artists,” Wild says, adding that Medicare for All would be a huge boon for self-employed fur suit makers and fursona illustrators who can’t afford healthcare. “When people can’t feed their families, the luxury of the furry fandom can’t really exist. It’s hard to go to furry conventions when you can’t make rent.”\u003c/p>\n\u003cp>“I haven’t had healthcare since 2007,” says O’Furr. “This is why Bernie is the guy. And Green New Deal also—if you talk about, well, what do furries have to do with politics? If you look at climate change, we are going to be losing so many habitats, so many species. It’s going to affect everything that we do, everything that we eat, the places we live. We need a Green New Deal and to get off of fossil fuels.”\u003c/p>\n\u003ch2>Ideological Clashes and the Rise of Alt-Furries\u003c/h2>\n\u003cp>Not all of the furry fandom, however, embraces social and environmental justice causes. In 2015, when the white nationalist movement began to gain mainstream traction during Donald Trump’s presidential campaign, a \u003ca href=\"https://medium.com/@DeoTasDevil/how-white-nationalism-courts-internet-nerd-culture-b4ebad07863d\" target=\"_blank\" rel=\"noopener noreferrer\">scourge of neo-Nazism\u003c/a> took hold among furries. A group called the Furry Raiders began wearing Nazi-esque uniforms and armbands over their fur suits at conventions.\u003c/p>\n\u003cp>In 2017, the Rocky Mountain Fur Con in Denver \u003ca href=\"https://www.rollingstone.com/culture/culture-features/does-the-furry-community-have-a-nazi-problem-194282/\" target=\"_blank\" rel=\"noopener noreferrer\">was cancelled\u003c/a> over a controversy over the Furry Raiders that resulted in threats of violence. Eventually, the group’s leader Foxler—real name Lee Miller—was exposed as an accused child predator, and currently \u003ca href=\"https://en.wikifur.com/w/images/b/b5/CaseSummary-update-02142020-case-update-foxler-starfire-lee-miller-denver-colorado.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">awaits criminal trial\u003c/a> for sex crimes in Colorado.\u003c/p>\n\u003cp>Deo, a 28-year-old union steelworker from Iowa (her fursona is a Tasmanian devil), has been one of the most active furries in the fight against hate groups within the fandom. She explains that the alt-right targets furries because of the large amount of socially awkward, young, alienated white men among them.\u003c/p>\n\u003cp>“\u003ca href=\"https://www.vox.com/2014/9/6/6111065/gamergate-explained-everybody-fighting\" target=\"_blank\" rel=\"noopener noreferrer\">Gamergate\u003c/a> was sort of winding down [around 2015], and you had all these angry people who were semi-organized and realized anger had power,” she says, referring to the online harassment campaign waged by gamers against women in the video game industry. “White nationalists saw the opportunity that you have a bunch of angry young men on the internet, and you can ply them with whatever kind of propaganda you want.”\u003c/p>\n\u003cfigure id=\"attachment_13875594\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875594\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/deo-800x745.jpg\" alt=\"Doe the Tasmanian devil, a union steelworker from Iowa, has played a key role in exposing white nationalism within the furry fandom.\" width=\"800\" height=\"745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/deo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/deo-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/deo-768x715.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doe the Tasmanian devil, a union steelworker from Iowa, has played a key role in exposing white nationalism within the furry fandom. \u003ccite>(Courtesy of Deo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the alt-right movement grew after the 2016 election, its activists developed techniques for courting furries with animal-oriented racist media (including a baffling cover of a \u003cem>Lion King\u003c/em> song with lyrics celebrating white supremacy that Deo discovered in an alt-furry chat). Deo and other anti-fascist furries began infiltrating alt-furry online groups to keep tabs on their plans for recruitment.\u003c/p>\n\u003cp>“Our events combat this alt-right push. A lot of conventions have banned their leadership,” says Deo, adding that she’s been doxxed and physically threatened for this work. “As far as I know of, every convention has banned hate paraphernalia. There’s a lot more community involvement now: people are aware, they’re talking about it, they’re looking out for each other.”\u003c/p>\n\u003cp>With alt-right ringleaders like Milo Yiannopoulos banned from Twitter and no longer making frequent news headlines, the alt-furry movement has, too, somewhat receded into the shadows. Deo says she’s been involved in restorative justice work to help de-radicalize those leaving hate groups.\u003c/p>\n\u003cp>“It can be one of the hardest subjects to tackle, especially when we’re talking about getting people to realize the harm that they’ve committed,” Deo says. “And then committing to making that change, taking that personal responsibility, and working on reintegration of those people into our community so they have community support and don’t fall back into those groups.”\u003c/p>\n\u003ch2>A Wide Network Mobilizing for Super Tuesday\u003c/h2>\n\u003cp>Dogpatch Press—which gets anywhere from 20,000–50,000 monthly views—helped chronicle the turmoil inside the fandom, with posts exposing \u003ca href=\"https://dogpatch.press/2018/02/07/altfurry-hate-part-2/\" target=\"_blank\" rel=\"noopener noreferrer\">leaked alt-furry chat logs\u003c/a> and identifying an alt-furry who marched with neo-Nazis in \u003ca href=\"https://dogpatch.press/2017/08/14/altfurry-neo-nazi-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">Charlottesville\u003c/a> in 2017. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in addition to combating hate groups, Deo has been doing her part ahead of the election, too. She canvassed ahead of the Iowa caucus and helped organize a Sanders rally in her state. Now, she’s sharing her experience for best practices for phone banking and knocking on doors with her furry friends across the country.\u003c/p>\n\u003cp>“People are in West Virginia or Ohio, and you can lend them help, too,” she says. “Like, ‘Hey, are you phone banking for Bernie? Here, I’ll get on my phone too and we can type on Discord chat together while we’re phone banking for these candidates.'”\u003c/p>\n\u003cp>The most surprising people can identify as furries, Deo says, like her cowboy friend from South Dakota who’s a democratic socialist. And with their shared interests already formed, their political networks are strong and wide.\u003c/p>\n\u003cp>“Furries are everywhere,” Deo explains. “We walk among you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco City officials have given the green light for the return of \u003ca href=\"https://zinzanni.com/sf/\" target=\"_blank\" rel=\"noopener noreferrer\">Teatro ZinZanni\u003c/a> to the Embarcadero after an absence of nine years.\u003c/p>\n\u003cp>For just over a decade, from 2000 to 2011, the beloved entertainment spot attracted hundreds of thousands of tourists and locals to Pier 29 with its popular blend of circus, cabaret, comedy and dinner—all of it served up in a vintage wooden tent lined with mirrors and stained glass known as the “spiegeltent.”\u003c/p>\n\u003cp>But the Teatro ZinZanni company, which also has locations in Seattle and Chicago, was forced to shut down its San Francisco operation to make way for the 2013 America’s Cup sailboat race.\u003c/p>\n\u003cp>It’s been negotiating with city officials to reopen ever since.\u003c/p>\n\u003cfigure id=\"attachment_13875623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-800x556.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut-1020x709.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS41644_Palais-Nostalgique-Tent-photo-credit-Teatro-ZinZanni-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the spiegeltent. \u003ccite>(Teatro ZinZanni)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have worked for almost a decade to return to the city we love,” said Teatro ZinZanni founder Norman Langill, in a statement about the $142 million project. “We know it would not have been possible without the strong support of the community, our artists and our fans.”\u003c/p>\n\u003cp>Over the past nine years, several circus shows in a similar vein to Teatro ZinZanni emerged in the Bay Area, including the \u003ca href=\"https://thesoileddove.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Soiled Dove\u003c/a>, held in a giant tent pitched on Broadway in downtown Oakland. Teatro ZinZanni’s return, say officials, is intended to be permanent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plans for the new Teatro ZinZanni—which will be housed in a different location, a port-owned seawall property at Embarcadero and Broadway (currently a parking lot)—will include a 192-room hotel and surrounding public park.\u003c/p>\n\u003cp>But the spiegeltent itself, known as the “Palais Nostalgique,” will be the same one that operated in San Francisco at Pier 29.\u003c/p>\n\u003cp>Teatro ZinZanni aims to reopen its doors in summer 2022.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Texas City Censors Oakland Artist Xandra Ibarra’s ‘Obscene’ Feminist Video",
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"content": "\u003cp>Officials in a Texas city earlier this month removed “Spictacle II: La Tortillera,” Oakland artist Xandra Ibarra’s video satirizing Mexican gender stereotypes, from display in a city-owned gallery due to content deemed “obscene,” prompting cries of censorship nationally. [aside postID=arts_10903962] \u003c/p>\n\u003cp>The video was removed from \u003cem>XicanX: New Visions\u003c/em> hours before the group exhibition curated by Dos Mestizx opened Feb. 13 at Centro de Artes in San Antonio. A city spokesperson in a statement called the video “\u003ca href=\"https://www.expressnews.com/entertainment/arts-culture/article/Removal-of-video-from-exhibit-at-San-Antonio-s-15075260.php?cmpid=gsa-mysa-result\">obscene material\u003c/a>” that flaunts community standards. First Amendment advocates call its removal a violation of constitutional free speech protections, and a petition by the show’s curators to restore the artwork so far boasts more than 1,000 signatures.\u003c/p>\n\u003cp>Ibarra, an established performance artist, originally developed “La Tortillera” as a live performance through her La Chica Boom persona. In the \u003ca href=\"https://vimeo.com/171037339\">four-minute video\u003c/a> from 2014, she dances in Mexican housewife garb to Eddie Dimas’ “El Mosquito” before removing her panties to reveal a Tapatio bottle strapped to her pelvis. Tasseled pasties cover Ibarra’s nipples as she pretends to ejaculate hot sauce onto the thongs and tortillas. The strap-on Tapatio bottle is a sculpture Ibarra created with the intention of ridiculing the fear of racial contagion or demographic change. \u003c/p>\n\u003cp>“If I can’t cum on my tacos, neither can you,” Ibarra said in a statement to KQED. “What I mean to say is that this is not about me, the state wants to silence urgent political movements and cultural issues that deal with race, sex, sexuality, incarceration, immigration, and war. We need to answer back even when it’s something as tame as the censorship of me cumming on tacos.”\u003c/p>\n\u003cp>Ibarra, a professor at California College of the Arts who’s shown at local institutions including Yerba Buena Center for the Arts, is originally from the El Paso-Juarez border region. She is also a longtime community organizer active with INCITE!, a national organization devoted to addressing violence against women of color. Ibarra created the hyper-sexualized, hyper-racialized La Chica Boom persona in the 2000s for a performance series she calls “spictacles,” aiming in part to humorously complicate and pervert Mexican iconography. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This project was an attempt to inhabit my sexed ‘spichood’ and hyperbolize my supposed differences to discover queer forms of pleasure,” Ibarra explained. “The censorship assumes that race, sex and sexuality are not part of critically and radically thinking about aesthetics.” \u003c/p>\n\u003cp>San Antonio Department of Arts & Culture head Debbie Racca-Sittre said the video was removed after consulting with the city attorney. “The department has the right to determine what is displayed,” Racca-Sittre said in a statement, adding that the city has a “responsibility to make art accessible to the general public—which includes residents and visitors of all ages.” \u003c/p>\n\u003cp>Dos Mestizx, artist-curators Suzy González and Michael Menchaca, selected Ibarra as one of 11 artists to feature in \u003cem>XicanX: New Visions\u003c/em>, a national exhibition exploring social justice and migrant identity, and agreed to install “La Tortillera” behind a blackout curtain with advisory signage. A statement accompanying the curators’ online \u003ca href=\"https://www.change.org/p/artists-protect-the-civil-right-to-exhibit-queer-art-in-san-antonio-today\">petition\u003c/a> describes the removal of the video as censorship, cultural erasure and “an act of discrimination and glaring homophobia.” \u003c/p>\n\u003cp>In a Feb. 20 \u003ca href=\"https://ncac.org/news/san-antonio-censors-queer-latina-performance-artist-xandra-ibarra\">letter\u003c/a> addressed to Ron Nirenberg, San Antonio’s mayor, the National Coalition Against Censorship urged the city to restore the artwork to the exhibition, saying the video doesn’t meet the definition of obscenity established by the United States Supreme Court. Regardless of its sexual content, the coalition letter argues, city officials must prove Ibarra’s widely-shown video lacks serious artistic value in order to meet legal criteria for obscenity.\u003c/p>\n\u003cp>The coalition was “deeply concerned” by San Antonio officials’ decision to remove the artwork “because of your apparent discomfort with its unconventional viewpoint on representations of sexuality and the challenge it presents to gender stereotypes,” reads the letter. It goes on to cite the controversy and 1990 obscenity trial stemming from the City of Cincinnati’s interference in a Robert Mapplethorpe retrospective. “After the trial, news outlets portrayed Cincinnati as a cultural backwater that would imprison a museum director before agreeing to exhibit difficult art.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A special public meeting of the Centro de Artes Committee is scheduled Tuesday in San Antonio to discuss the exhibition.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>The video was removed from \u003cem>XicanX: New Visions\u003c/em> hours before the group exhibition curated by Dos Mestizx opened Feb. 13 at Centro de Artes in San Antonio. A city spokesperson in a statement called the video “\u003ca href=\"https://www.expressnews.com/entertainment/arts-culture/article/Removal-of-video-from-exhibit-at-San-Antonio-s-15075260.php?cmpid=gsa-mysa-result\">obscene material\u003c/a>” that flaunts community standards. First Amendment advocates call its removal a violation of constitutional free speech protections, and a petition by the show’s curators to restore the artwork so far boasts more than 1,000 signatures.\u003c/p>\n\u003cp>Ibarra, an established performance artist, originally developed “La Tortillera” as a live performance through her La Chica Boom persona. In the \u003ca href=\"https://vimeo.com/171037339\">four-minute video\u003c/a> from 2014, she dances in Mexican housewife garb to Eddie Dimas’ “El Mosquito” before removing her panties to reveal a Tapatio bottle strapped to her pelvis. Tasseled pasties cover Ibarra’s nipples as she pretends to ejaculate hot sauce onto the thongs and tortillas. The strap-on Tapatio bottle is a sculpture Ibarra created with the intention of ridiculing the fear of racial contagion or demographic change. \u003c/p>\n\u003cp>“If I can’t cum on my tacos, neither can you,” Ibarra said in a statement to KQED. “What I mean to say is that this is not about me, the state wants to silence urgent political movements and cultural issues that deal with race, sex, sexuality, incarceration, immigration, and war. We need to answer back even when it’s something as tame as the censorship of me cumming on tacos.”\u003c/p>\n\u003cp>Ibarra, a professor at California College of the Arts who’s shown at local institutions including Yerba Buena Center for the Arts, is originally from the El Paso-Juarez border region. She is also a longtime community organizer active with INCITE!, a national organization devoted to addressing violence against women of color. Ibarra created the hyper-sexualized, hyper-racialized La Chica Boom persona in the 2000s for a performance series she calls “spictacles,” aiming in part to humorously complicate and pervert Mexican iconography. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This project was an attempt to inhabit my sexed ‘spichood’ and hyperbolize my supposed differences to discover queer forms of pleasure,” Ibarra explained. “The censorship assumes that race, sex and sexuality are not part of critically and radically thinking about aesthetics.” \u003c/p>\n\u003cp>San Antonio Department of Arts & Culture head Debbie Racca-Sittre said the video was removed after consulting with the city attorney. “The department has the right to determine what is displayed,” Racca-Sittre said in a statement, adding that the city has a “responsibility to make art accessible to the general public—which includes residents and visitors of all ages.” \u003c/p>\n\u003cp>Dos Mestizx, artist-curators Suzy González and Michael Menchaca, selected Ibarra as one of 11 artists to feature in \u003cem>XicanX: New Visions\u003c/em>, a national exhibition exploring social justice and migrant identity, and agreed to install “La Tortillera” behind a blackout curtain with advisory signage. A statement accompanying the curators’ online \u003ca href=\"https://www.change.org/p/artists-protect-the-civil-right-to-exhibit-queer-art-in-san-antonio-today\">petition\u003c/a> describes the removal of the video as censorship, cultural erasure and “an act of discrimination and glaring homophobia.” \u003c/p>\n\u003cp>In a Feb. 20 \u003ca href=\"https://ncac.org/news/san-antonio-censors-queer-latina-performance-artist-xandra-ibarra\">letter\u003c/a> addressed to Ron Nirenberg, San Antonio’s mayor, the National Coalition Against Censorship urged the city to restore the artwork to the exhibition, saying the video doesn’t meet the definition of obscenity established by the United States Supreme Court. Regardless of its sexual content, the coalition letter argues, city officials must prove Ibarra’s widely-shown video lacks serious artistic value in order to meet legal criteria for obscenity.\u003c/p>\n\u003cp>The coalition was “deeply concerned” by San Antonio officials’ decision to remove the artwork “because of your apparent discomfort with its unconventional viewpoint on representations of sexuality and the challenge it presents to gender stereotypes,” reads the letter. It goes on to cite the controversy and 1990 obscenity trial stemming from the City of Cincinnati’s interference in a Robert Mapplethorpe retrospective. “After the trial, news outlets portrayed Cincinnati as a cultural backwater that would imprison a museum director before agreeing to exhibit difficult art.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A special public meeting of the Centro de Artes Committee is scheduled Tuesday in San Antonio to discuss the exhibition.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "opera-union-says-placido-domingo-engaged-in-inappropriate-activity",
"title": "Opera Union Says Plácido Domingo Engaged in 'Inappropriate Activity'",
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"content": "\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:30 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>The union representing opera performers, choral singers and dancers says that according to an independent investigation it commissioned, opera megastar Plácido Domingo engaged in “inappropriate activity” with women both “in and outside of the workplace.”\u003c/p>\n\u003cp>In a brief \u003ca href=\"https://www.musicalartists.org/union-investigation-confirms-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a> issued early Tuesday, American Guild of Musical Artists gave no information about specific incidents of alleged misconduct, except to say that it ranged from “flirtation to sexual advances, in and outside of the workplace” nor did the union provide any time span for those activities. The release continued: “Many of the witnesses expressed fear of retaliation in the industry as their reason for not coming forward sooner. The AGMA Board of Governors has accepted the findings of the report and will take appropriate action.”\u003c/p>\n\u003cp>The investigation \u003ca href=\"https://www.musicalartists.org/agma-opens-independent-investigation-into-allegations-against-placido-domingo/\" target=\"_blank\" rel=\"noopener noreferrer\">was launched\u003c/a> last September. Two sources tell NPR that its conclusion was to include a $500,000 settlement between the singer and AGMA. But, the sources say, the settlement was retracted overnight after The Associated Press\u003ca href=\"https://apnews.com/1a8add4db2c4ba38420b7b8b2857ffac\" target=\"_blank\" rel=\"noopener noreferrer\"> published some details\u003c/a> about the investigators’ findings early Tuesday.\u003c/p>\n\u003cp>The AP reported that the investigators hired by AGMA spoke to 27 people who said that they were either “sexually harassed or witnessed inappropriate behavior” over the course of two decades and that the timeline of Domingo’s behavior included the periods during which he was artistic director at Washington National Opera and general director of LA Opera. One of NPR’s sources who saw the investigators’ report confirmed the total number of alleged victims and witnesses, as well as the time frame of the misconduct.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 79-year-old singer’s representatives did not immediately reply to NPR’s request for comment. However, he issued a statement to the AP, saying: “I have taken time over the last several months to reflect on the allegations that various colleagues of mine have made against me. I respect that these women finally felt comfortable enough to speak out, and I want them to know that I am truly sorry for the hurt that I caused them. I accept full responsibility for my actions, and I have grown from this experience.”\u003c/p>\n\u003cp>The AGMA investigation, as well as a separate independent investigation led by LA Opera, was launched after the AP \u003ca href=\"https://apnews.com/3baf2ccc59144284b227f29eb7d44797\">last year\u003c/a> reported accusations of 20 women who said that Domingo had sexually harassed them as far back as the 1980s and as recently as the 2016-2017 opera season.\u003c/p>\n\u003cp>In a statement issued Tuesday, the two Domingo accusers who have come forward by name—singers Patricia Wulf and Angela Turner Wilson—urged AGMA to drop Domingo’s membership from the union. “Even though the industry failed to protect us from misogynist and predatory behavior, an expulsion from the union would signal that the industry is learning from its mistakes and that sexual harassment and abuse—perpetuated by industry complicity—will not be tolerated in the future.”\u003c/p>\n\u003cp>In the same statement, the two women’s lawyer, Debra Katz, who also represents other Domingo accusers, urged AGMA to release the results of its investigation, saying: “Opera companies may have prioritized ticket sales generated by powerful men over the safety of women in the industry, but the AGMA now has an opportunity to send a clear message that the safety and dignity of women matter. We look forward to the release of the final report.”\u003c/p>\n\u003cp>Several prominent American companies, including most notably the \u003ca href=\"https://www.npr.org/2019/09/24/764011716/placido-domingo-out-at-metropolitan-opera-following-sexual-misconduct-allegation\" target=\"_blank\" rel=\"noopener noreferrer\">Metropolitan Opera\u003c/a>, parted ways with Domingo in the wake of the accusations. By contrast, many European opera houses and singers either offered him public support or suggested that they would await the results of the investigations.\u003c/p>\n\u003cp>Speaking anonymously for fear of retribution, the sources with knowledge of the planned $500,000 settlement told NPR that Domingo’s legal team withdrew its settlement offer with AGMA early Tuesday morning. NPR has viewed the email which senior AGMA leadership sent early Tuesday to its \u003ca href=\"https://www.musicalartists.org/about-agma/board-members-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">officers and national board of governors\u003c/a>, a group of about 80 individuals, saying that the union intends to take “appropriate action” against any members who had spoken to the AP, adding: “The damage caused by these individuals to our union, our members and the targets of Domingo’s harassment is incalculable.” AGMA declined to comment to NPR on details of the tentative settlement or its withdrawal.\u003c/p>\n\u003cp>The results of the AGMA investigation were not supposed to be disclosed, either in summary or in full, to the public or to the union’s membership. Union leaders, however, were permitted to speak individually to members about the investigation and its findings.\u003c/p>\n\u003cp>Funds from the settlement were supposed to cover AGMA’s fees for the investigation, to fund a sexual harassment prevention training program for AGMA’s membership and possibly also to be distributed in part to a variety of organizations that aid survivors of sexual misconduct and abuse.\u003c/p>\n\u003cp>In its Tuesday public statement, AGMA said that the union and its signatory performing arts companies plan to “improve culture” and “prevent harassment in the future.” Additionally, AGMA said it will conduct a promotional campaign and use training programs “to empower its membership to speak out and prevent harassment.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The separate investigation \u003ca href=\"https://www.npr.org/2019/08/13/750766148/report-placido-domingo-accused-of-sexual-harassment-by-multiple-women\" target=\"_blank\" rel=\"noopener noreferrer\">launched\u003c/a> by LA Opera, where Domingo was \u003ca href=\"https://www.npr.org/2019/10/02/766513143/placido-domingo-resigns-from-la-opera\" target=\"_blank\" rel=\"noopener noreferrer\">general director\u003c/a> for 16 years before resigning last October, is ongoing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Union+Says+Pl%C3%A1cido+Domingo+Engaged+In+%27Inappropriate+Activity%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "‘Swingposium’ Celebrates Music in Japanese American Incarceration Camps … With Taiko",
"title": "‘Swingposium’ Celebrates Music in Japanese American Incarceration Camps … With Taiko",
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"content": "\u003cp>When you think about internment of Japanese Americans during World War II, you probably don’t think about big bands and dancing. But music — especially swing music — played a big role in incarceration camps.\u003c/p>\n\u003cp>“Music was infused early on in the internment incarceration experience as a way to bring some normalcy,” said Franco Imperial, artistic director of San Jose Taiko, a performance group with a California take on classical Japanese percussion. “Music was a source of hope. It allowed them to escape.”\u003c/p>\n\u003cfigure id=\"attachment_11802776\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802776\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members join in on San Jose Taiko's dance for an interactive performance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"\u003ca href=\"https://taiko.org/swingposium\">Swingposium,\u003c/a>\" San Jose Taiko's interactive show touring the state, celebrates the big band scene that emerged while Japanese American people were in incarceration camps.\u003c/p>\n\u003cp>“The whole show starts with the door swinging open. You've just been transported through time,\" Imperial said. The classic Benny Goodman song, “In the Mood,\" plays courtesy of a live jazz ensemble, and the audience starts dancing.\u003c/p>\n\u003cp>“As an audience member, you are not just watching, but you are participating,\" he said. \"Imagine yourself walking onto a movie set from the 1940s, in an internment camp dance hall. And so you're surrounded by actors, dancers, Taiko musicians.”\u003c/p>\n\u003cfigure id=\"attachment_11802779\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg class=\"wp-image-11802779\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg\" alt=\"\" width=\"600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Actors Nicole Ogata and Matt Mori cozy up for a slow dance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Swingposium\" employs actors from \u003ca href=\"https://www.epicimmersive.com/\">Epic Immersive\u003c/a> to tell a personal story of internment. Imperial teases the plot: It’s about “love that blossomed between a young man named George and a young woman named Amy.” George is named after real life incarceree and bandleader, George Igawa.\u003c/p>\n\u003cp>Even more than a love story, \"Swingposium\" explores the complex effects of incarceration on a Japanese American's identity.\u003c/p>\n\u003cp>“[George is] also navigating being a teenager of 18, wondering if he should go to war,\" Imperial said. \"Why should you fight for a country that incarcerates your family and yourself without due process? And [on] another side, wanting to prove yourself as an American?”\u003c/p>\n\u003ch3>\u003cstrong>San Jose's Take on Taiko: California Style\u003c/strong>\u003c/h3>\n\u003cp>Taiko signifies a broad range of Japanese percussion instruments, but San Jose Taiko’s version of Taiko is different from Japan’s classical forms.\u003c/p>\n\u003cp>Founded in 1973, San Jose Taiko decided that its sound was meant to be representative of the \"Asian soul of America.\"\u003c/p>\n\u003cp>\"When we first performed in Japan in the early '90s, the Taiko establishment in Japan saw us from California. We were smiling, being joyful and effusive. And they labeled us 'California Sunshine Taiko,' \" Imperial said.\u003c/p>\n\u003cp>Combining swing music with a modern, ensemble-style of Taiko felt like a natural progression, Imperial said.\u003c/p>\n\u003cp>You might wonder, how did they choreograph the performances so they could \u003ca href=\"https://www.youtube.com/watch?v=m1un9X2_sOY\">play a huge taiko drum\u003c/a> and swing dance at the same time?\u003c/p>\n\u003cp>Imperial’s answer: trial and error.\u003c/p>\n\u003cfigure id=\"attachment_11802786\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11802786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg\" alt=\"\" width=\"1920\" height=\"1146\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-800x478.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-1020x609.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The George Igawa Orchestra perform in Hope Mountain, Wyoming. \u003ccite>(HMWF Collection 2001.007, Gift of Joy Teraoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>'Americanization' Versus American Affirmation\u003c/strong>\u003c/h3>\n\u003cp>Swing bands were sponsored by the War Relocation Authority as a propaganda tool meant to “Americanize\" incarcerees. Bands like the \u003ca href=\"https://everything2.com/title/George+Igawa+Band\">George Igawa Band\u003c/a> in Heart Mountain, Wyoming, were funded by the Recreation Department, and some band members even received a monthly salary.\u003c/p>\n\u003cfigure id=\"attachment_11802787\" class=\"wp-caption alignnone\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11802787\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg\" alt=\"\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Internment survivor Naomi Meyers is interviewed by Franco Imperial, Artistic Director San Jose Taiko, before 'Swingposium.' \u003ccite>(Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you were at Heart Mountain, Wyoming, the only swing band if you wanted to listen to swing music live was the George Igawa Band,” Imperial said. “They played a gig and then bused back into the incarceration camps afterwards. They were used for anything from high school dances to community dances. What was unbelievable was that they would be used for war bond rallies.”\u003c/p>\n\u003cp>Imperial noted that there were no recorded instances of Taiko at Heart Mountain, but dancing to swing music was a way incarcerated people affirmed their American identities. And today, \"Swingposium\" uses Taiko as a symbol for the spirit and resilience of Japanese people.\u003c/p>\n\u003cp>“This was them proving that we're just as American as anybody else in the country. They were saying they loved Duke Ellington and Cole Porter and listened to the same music,\" he said. \"This music was an expression of them saying we're no different than anyone outside of the barbed wire.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you think about internment of Japanese Americans during World War II, you probably don’t think about big bands and dancing. But music — especially swing music — played a big role in incarceration camps.\u003c/p>\n\u003cp>“Music was infused early on in the internment incarceration experience as a way to bring some normalcy,” said Franco Imperial, artistic director of San Jose Taiko, a performance group with a California take on classical Japanese percussion. “Music was a source of hope. It allowed them to escape.”\u003c/p>\n\u003cfigure id=\"attachment_11802776\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802776\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41463_PHOTO1-qut.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members join in on San Jose Taiko's dance for an interactive performance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"\u003ca href=\"https://taiko.org/swingposium\">Swingposium,\u003c/a>\" San Jose Taiko's interactive show touring the state, celebrates the big band scene that emerged while Japanese American people were in incarceration camps.\u003c/p>\n\u003cp>“The whole show starts with the door swinging open. You've just been transported through time,\" Imperial said. The classic Benny Goodman song, “In the Mood,\" plays courtesy of a live jazz ensemble, and the audience starts dancing.\u003c/p>\n\u003cp>“As an audience member, you are not just watching, but you are participating,\" he said. \"Imagine yourself walking onto a movie set from the 1940s, in an internment camp dance hall. And so you're surrounded by actors, dancers, Taiko musicians.”\u003c/p>\n\u003cfigure id=\"attachment_11802779\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg class=\"wp-image-11802779\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg\" alt=\"\" width=\"600\" height=\"900\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41465_PHOTO3-qut.jpg 1200w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Actors Nicole Ogata and Matt Mori cozy up for a slow dance. \u003ccite>(Photo Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Swingposium\" employs actors from \u003ca href=\"https://www.epicimmersive.com/\">Epic Immersive\u003c/a> to tell a personal story of internment. Imperial teases the plot: It’s about “love that blossomed between a young man named George and a young woman named Amy.” George is named after real life incarceree and bandleader, George Igawa.\u003c/p>\n\u003cp>Even more than a love story, \"Swingposium\" explores the complex effects of incarceration on a Japanese American's identity.\u003c/p>\n\u003cp>“[George is] also navigating being a teenager of 18, wondering if he should go to war,\" Imperial said. \"Why should you fight for a country that incarcerates your family and yourself without due process? And [on] another side, wanting to prove yourself as an American?”\u003c/p>\n\u003ch3>\u003cstrong>San Jose's Take on Taiko: California Style\u003c/strong>\u003c/h3>\n\u003cp>Taiko signifies a broad range of Japanese percussion instruments, but San Jose Taiko’s version of Taiko is different from Japan’s classical forms.\u003c/p>\n\u003cp>Founded in 1973, San Jose Taiko decided that its sound was meant to be representative of the \"Asian soul of America.\"\u003c/p>\n\u003cp>\"When we first performed in Japan in the early '90s, the Taiko establishment in Japan saw us from California. We were smiling, being joyful and effusive. And they labeled us 'California Sunshine Taiko,' \" Imperial said.\u003c/p>\n\u003cp>Combining swing music with a modern, ensemble-style of Taiko felt like a natural progression, Imperial said.\u003c/p>\n\u003cp>You might wonder, how did they choreograph the performances so they could \u003ca href=\"https://www.youtube.com/watch?v=m1un9X2_sOY\">play a huge taiko drum\u003c/a> and swing dance at the same time?\u003c/p>\n\u003cp>Imperial’s answer: trial and error.\u003c/p>\n\u003cfigure id=\"attachment_11802786\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11802786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg\" alt=\"\" width=\"1920\" height=\"1146\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-800x478.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41468_PHOTO6-qut-1020x609.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The George Igawa Orchestra perform in Hope Mountain, Wyoming. \u003ccite>(HMWF Collection 2001.007, Gift of Joy Teraoka)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>'Americanization' Versus American Affirmation\u003c/strong>\u003c/h3>\n\u003cp>Swing bands were sponsored by the War Relocation Authority as a propaganda tool meant to “Americanize\" incarcerees. Bands like the \u003ca href=\"https://everything2.com/title/George+Igawa+Band\">George Igawa Band\u003c/a> in Heart Mountain, Wyoming, were funded by the Recreation Department, and some band members even received a monthly salary.\u003c/p>\n\u003cfigure id=\"attachment_11802787\" class=\"wp-caption alignnone\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11802787\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg\" alt=\"\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41467_PHOTO5-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Internment survivor Naomi Meyers is interviewed by Franco Imperial, Artistic Director San Jose Taiko, before 'Swingposium.' \u003ccite>(Courtesy of Mark Larson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If you were at Heart Mountain, Wyoming, the only swing band if you wanted to listen to swing music live was the George Igawa Band,” Imperial said. “They played a gig and then bused back into the incarceration camps afterwards. They were used for anything from high school dances to community dances. What was unbelievable was that they would be used for war bond rallies.”\u003c/p>\n\u003cp>Imperial noted that there were no recorded instances of Taiko at Heart Mountain, but dancing to swing music was a way incarcerated people affirmed their American identities. And today, \"Swingposium\" uses Taiko as a symbol for the spirit and resilience of Japanese people.\u003c/p>\n\u003cp>“This was them proving that we're just as American as anybody else in the country. They were saying they loved Duke Ellington and Cole Porter and listened to the same music,\" he said. \"This music was an expression of them saying we're no different than anyone outside of the barbed wire.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Five Concerts Not to Miss at Noise Pop 2020",
"headTitle": "Five Concerts Not to Miss at Noise Pop 2020 | KQED",
"content": "\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\u003c/p>\n\u003cp>https://youtu.be/Zgjrt12QTVQ\u003c/p>\n\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/RVfIJ2jZFcM\u003c/p>\n\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\u003c/p>\n\u003cp>https://youtu.be/OcK5JLyPLM0\u003c/p>\n\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\u003c/p>\n\u003cp>https://youtu.be/6XDJ7exN12U\u003c/p>\n\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\u003c/p>\n\u003cp>https://youtu.be/Kl7VlI3eUs4\u003c/p>\n\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The club scene lights up in San Francisco every year for \u003ca href=\"https://noisepopfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, a week of constant concerts, screenings and other events on both sides of the Bay and, now, in Sacramento and Santa Cruz. Founded as a $5 indie rock fest in 1993, the event has expanded to feature the best of independent artists working in wide variety of genres (including \u003ca href=\"https://twitter.com/noisepop/status/1220423464970047490\" target=\"_blank\" rel=\"noopener noreferrer\">over 70\u003c/a> Bay Area acts).\u003c/p>\n\u003cp>With multiple shows happening every night Feb. 24–March 1, music lovers have the option of venue-hopping to get a sampling of everything, or just picking out one, two or a handful of favorites to catch at their leisure. This year’s headliners include Benjamin Gibbard from Death Cab for Cutie (whose Feb. 28 August Hall show is already sold out), Oakland R&B mover-and-shaker Raphael Saadiq and U.K. techno producer Maya Jane Coles. Below are our recommendations of five concerts not to miss.\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/Zgjrt12QTVQ'\n title='//www.youtube.com/embed/Zgjrt12QTVQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Sudan Archives\u003c/h2>\n\u003cp>\u003cem>Feb. 24, \u003ca href=\"http://events.noisepop.com/events/2020/2/24/sudan-archives-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Swedish American Hall\u003c/a> in San Francisco with Velvet Negroni and 8ulentina\u003c/em>\u003cbr>\n\u003cem>Feb. 25, \u003ca href=\"http://events.noisepop.com/events/2020/2/25/sudan-archives-ssc\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> in Oakland with Velvet Negroni and Sandu Ndu\u003c/em>\u003c/p>\n\u003cp>Los Angeles singer-producer \u003ca href=\"https://sudanarchives.bandcamp.com/album/athena\" target=\"_blank\" rel=\"noopener noreferrer\">Sudan Archives\u003c/a>‘ energetic, R&B-inflected pop pairs airy vocals with dark, lurching synths and hip-winding grooves, but her secret weapon is her violin. Originally an avant-garde string player, she incorporates tense chord progressions and light plucking to give her beats dimension and drama. Some of her arrangements are inspired by her research into string instruments in places like Sudan and Ghana, but her sound is all her own on \u003cem>Athena\u003c/em>, her 2019 debut album on Stones Throw Records.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RVfIJ2jZFcM'\n title='//www.youtube.com/embed/RVfIJ2jZFcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Combo Chimbita\u003c/h2>\n\u003cp>\u003cem>Feb. 26, \u003ca href=\"http://events.noisepop.com/events/2020/2/26/combo-chimbita-y-la-bamba-1571711368\" rel=\"noopener noreferrer\" target=\"_blank\">Harlows\u003c/a> in Sacramento with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 27, \u003ca href=\"http://events.noisepop.com/events/2020/2/27/combo-chimbita-y-la-bamba-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Catalyst\u003c/a> in Santa Cruz with Y La Bamba and San Cha\u003c/em>\u003cbr>\n\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/combo-chimbita-y-la-bamba-1571426637\" rel=\"noopener noreferrer\" target=\"_blank\">Slim’s\u003c/a> in San Francisco with Y La Bamba\u003c/em>\u003c/p>\n\u003cp>New York’s \u003ca href=\"https://combochimbita.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Combo Chimbita\u003c/a> play loud and heavy, with crashing drums and commanding guitar riffs that recall post-punk and shoegaze. Mixing in eerie cumbia melodies, the band’s powerful lead singer, Carolina Oliveros, belts Spanish-language lyrics that incorporate spiritual and folkloric themes from Colombia, from which the four band members’ families hail. The band performs with Portland’s Y La Bamba for two Noise Pop shows, and Y La Bamba’s lighter, more pop-oriented sound works within a similar framework of culling personal narratives from one’s ancestry and cultural history.\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/OcK5JLyPLM0'\n title='//www.youtube.com/embed/OcK5JLyPLM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Raphael Saadiq\u003c/h2>\n\u003cp>\u003cem>Feb. 28, \u003ca href=\"http://events.noisepop.com/events/2020/2/28/raphael-saadiq-oakland-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">Fox Theater\u003c/a> in Oakland with Jamila Woods and DJ Duggz\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> is an Oakland legend. His group Tony! Toni! Toné! was a Platinum-selling R&B sensation in the ’80s and ’90s, and Saadiq went on to become a powerful figure within the world of neo-soul, R&B and indie, producing for chart-toppers like Solange and D’Angelo, and presiding over the much-lauded soundtrack of the hit HBO series \u003cem>Insecure\u003c/em>. On his 2019 album, \u003cem>Jimmy Lee\u003c/em>, Saadiq strips his pop veneer and unwraps old wounds, delving into his family’s painful past with addiction. The pensive project takes its name from his brother who died of a heroin overdose, and other tracks on the project delve into the detrimental impacts of the war on drugs and mass incarceration.\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/6XDJ7exN12U'\n title='//www.youtube.com/embed/6XDJ7exN12U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Imperial Teen\u003c/h2>\n\u003cp>\u003cem>Feb. 29, \u003ca href=\"http://events.noisepop.com/events/2020/2/29/imperial-teen-torres-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">The Chapel\u003c/a> in San Francisco with Torres and Seablite\u003c/em>\u003c/p>\n\u003cp>Imperial Teen came out of San Francisco’s mid-’90s alt-rock scene, and quickly made a name for themselves with their charming harmonies and lyrics about queer love and heartbreak. The indie pop band went on to tour with Hole and had a song featured in the iconic dark comedy \u003cem>Jawbreaker\u003c/em>. The band’s 2019 album \u003ca href=\"https://imperialteen.bandcamp.com/album/now-we-are-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Now We Are Timeless\u003c/em>\u003c/a> (an ironic title considering the cover art features a melting glacier) finds the quartet’s instrumentation as tight and sprightly as ever, with lyrical subject matter that includes questions about mortality, loneliness and painful goodbyes.\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/Kl7VlI3eUs4'\n title='//www.youtube.com/embed/Kl7VlI3eUs4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Salami Rose Joe Louis\u003c/h2>\n\u003cp>\u003cem>March 1, \u003ca href=\"http://events.noisepop.com/events/2020/3/1/salami-rose-joe-louis-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">SFJAZZ Center: Joe Henderson Lab\u003c/a> in San Francisco\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fans of sci-fi luminaries like Octavia Butler will appreciate \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>‘ storytelling style of jazzy pop. The East Bay singer and multi-instrumentalist’s latest album strikes a chord with today’s ever-present climate and economic anxiety. Titled \u003ca href=\"https://salamirosejoelouismusic.bandcamp.com/album/zdenka-2080\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Zdenka 2080\u003c/em>\u003c/a>, it tells the tale of what happens on Earth once the wealthy and elite fly a megalopolis to another planet—ostensibly to escape global warming and pollution—and end up zapping the sun. In addition to this lyrical inventiveness, Salami Rose Joe Louis consistently wows with her nimble keyboard work and her band’s loose yet dexterous playing.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?",
"title": "Will 'Intimacy Coordinators' Change the Future of Sex Scenes in Hollywood?",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">As jury deliberations continue in the trial of big budget movie producer Harvey Weinstein, the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) has signaled it wants to institutionalize more sensitive approaches to simulating intimacy on set.\u003c/span>\u003c/p>\n\u003cp>Last month, the guild released \u003ca href=\"https://www.sagaftra.org/contracts-industry-resources/workplace-harassment/intimacy-coordinator-standards-protocols\" target=\"_blank\" rel=\"noopener noreferrer\">new standards and protocols\u003c/a> for the work of intimacy coordinators, a growing industry of professionals who help choreograph scenes that depict sexual behavior\u003cspan style=\"font-weight: 400\"> in movies and TV\u003c/span>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>\"The best practice around when to use us is whenever there are scenes involving any level of nudity — and then, of course, any type of simulated sex,\" said Amanda Blumenthal, an intimacy coordinator who helped the guild put together the new standards.\u003c/p>\n\u003cp>Blumenthal's website lists a number of specific scenarios during which intimacy coordinators can be useful, like \"coordinating with departments such as costumes and makeup to make sure that the actors are provided with appropriate nudity garments and prosthetics.\"\u003c/p>\n\u003cp>Intimacy coordinators, or ICs, can play a role in all kinds of intimate scenes, including “groping of breasts over clothing, heavy make out sessions, first kisses for minors and things like that,\" said Blumenthal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"A lot of people don't realize that there are many younger actors who have their first kiss on screen, and that can be a really sensitive and tender situation that should be handled with care,” she said.\u003c/p>\n\u003cp>Scenes with simulated sexual violence are also part of intimacy coordinators' work.\u003c/p>\n\u003cfigure id=\"attachment_11802512\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11802512\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg\" alt=\"Michelle Hurd at the \" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1-1020x679.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/02/RS41375_GettyImages-1199730929-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michelle Hurd at the \"Star Trek: Picard\" premiere in London, England, on Jan. 15, 2020. \u003ccite>(Eamonn M. McCormack/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Productions across studios, networks and genres are using IC services, including the new television series, Star Trek: Picard. This is thanks, in part, to one of its stars, veteran actress Michelle Hurd. Hurd is a member of \u003ca href=\"https://timesupfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Time’s Up\u003c/a> and also worked with SAG-AFTRA on the new protocols.\u003c/p>\n\u003cp>\"We’re talking about people. We're talking about physical contact,\" Hurd told KQED. \"These scenes need to be handled with kid gloves and choreographed.\"\u003c/p>\n\u003cp>The new standards strive to lay a foundation, Hurd added, “to enable and empower the actors to feel confident and strong and comfortable.\"\u003c/p>\n\u003ch3>Shifting the Culture on Set\u003c/h3>\n\u003cp>Intimacy coordinators have been working on sets for a while now, but SAG-AFTRA decided to formalize their role with new protocols to give ICs a more official platform and to help raise awareness within the industry.\u003c/p>\n\u003cp>“It’s hard for the whole concept to find space in the entertainment industry and to find a path to flourish and to grow without there being a standard understanding of what we’re talking about and what it means,” said David White, national executive director of SAG-AFTRA.\u003c/p>\n\u003cp>Some of the \u003ca href=\"https://www.sagaftra.org/files/sa_documents/SAG-AFTRA_IntimacyCoord_part.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">new guidelines\u003c/a> include:\u003c/p>\n\u003cul>\n\u003cli>Standards for training for intimacy coordinators, including gender and sexual diversity sensitivity training and an understanding of guild and union contracts that impact simulated sex.\u003c/li>\n\u003cli>Guidelines for resolving discrepancies in expectations between actors and productions around scenes involving intimacy.\u003c/li>\n\u003cli>Guidelines for on-set assistance, including enforcing continued consent throughout filming.\u003c/li>\n\u003c/ul>\n\u003cp>White is careful to point out that the guild is not making intimacy coordinators mandatory. He said there will be time in the future to integrate coordinators into collective bargaining agreements, but that's not the point of the guild's recent move.\u003c/p>\n\u003cp>Both White and SAG-AFTRA president Gabrielle Carteris acknowledged the potential for pushback from filmmakers for both creative and financial reasons.\u003c/p>\n\u003cp>Carteris, who is also an actor, recounted a conversation she'd had with a female director who was initially resistant to including an intimacy coordinator on a recent project — the director worried that an extra facilitator might interfere with her vision and rapport with the actors.\u003c/p>\n\u003cp>But that's not what happened, said Carteris.\u003c/p>\n\u003cp>“That director said to me, ‘I was able to share my vision, work [with the] actor, but also pay attention to everybody else in the set, knowing that the actor had somebody who [was] there one-on-one with them regarding any concerns they might have',” said Carteris.\u003c/p>\n\u003cp>Another potential obstacle to incorporating intimacy coordinators on set regularly is that they add another line item to project budgets.\u003c/p>\n\u003cp>“It’s very unusual for the [filmmaking] community to embrace the idea of a new cost to a production,” said White.\u003c/p>\n\u003cp>But Hurd said that if there is nudity or intimacy in a script, producers should build accommodations into their budgets to allow for “more care-taking to our artists... as they are put into vulnerable positions that will be... there on screen and film or digital for the rest of their lives.”\u003c/p>\n\u003cp>Hurd's own experience may inform her commitment to instill more sensitivity on sets. In 2014, she \u003ca href=\"https://www.cbsnews.com/news/actress-michelle-hurd-bill-cosby-was-very-inappropriate-with-me/\" target=\"_blank\" rel=\"noopener noreferrer\">spoke out about\u003c/a> Bill Cosby treating her inappropriately during the filming of the television show, The Cosby Mysteries, when she was working as a stand-in.\u003c/p>\n\u003cp>Hurd said she sees intimacy coordinators as just the next evolution of conscientiousness on set.\u003c/p>\n\u003cp>\"There didn’t used to be stunt coordinators or regulations around child actors or the way animals were used in filming,\" she said, “[Intimacy coordinators] should go into the same kind of category.”\u003c/p>\n\u003cp>And there are other parallels, like actors \"requesting \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/05/590867132/whats-an-inclusion-rider-here-s-the-story-behind-frances-mcdormand-s-closing-wor\" target=\"_blank\" rel=\"noopener noreferrer\">inclusion riders\u003c/a> so that there's a person of color or LGBTQ or disabled [person] in every room,” Hurd added.\u003c/p>\n\u003cp>For now, actors who request coordinators are not guaranteed one. Blumenthal, who also founded Intimacy Professional Association, one of the bodies that accredits ICs, said there are about 25 accredited coordinators currently working in the United States.\u003c/p>\n\u003cp>White said the guild is not directly connecting ICs with filmmakers, just raising awareness about their work. Intimacy coordinators are also not currently union members, though some are advocating for SAG-AFTRA membership.\u003c/p>\n\u003cp>Still, White said, the new protocols have the power to gradually shift the culture on set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The time will come where this position becomes a standard role of any production involving intimate scenes,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How many times have you paused and asked, \u003cem>Is it just me or —\u003c/em>\u003c/p>\n\u003cblockquote class=\"embedly-card\" data-card-align=\"center\" data-card-theme=\"light\" data-card-key=\"315412bdcd554e5fab14e2295681d82f\">\n\u003ch4>\u003ca href=\"http://giphy.com/gifs/hulu-fox-the-mindy-project-l2SqaOMcLttOAn93q\">Confused Mindy Kaling GIF by HULU – Find & Share on GIPHY\u003c/a>\u003c/h4>\n\u003cp>GIF it up for GIFs from your favorite TV shows, Hulu Originals and Exclusive programming, but it doesn’t stop there. Sign up for Hulu now: hulu.com/welcome\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Yeah, us too. \u003c/strong>\u003c/p>\n\u003cp>We all experience life in our unique bodies and skin. And yet, we’re alone in surviving, growing and thriving. The world we live in gaslights us into thinking anything to do with identity is in our imagination. Well, Truth Be Told is here to tell you it’s not. You are not the only one, you are not alone and guess what? There’s a podcast for that.\u003c/p>\n\u003cp>Sometimes we are sitting with questions that we can’t even talk about with those closest to us.\u003c/p>\n\u003cp>Truth Be Told is the friend you call after a long day to cry, bitch and moan. The one who gets it. So grab a seat on the couch, pull up the podcast and put your earbuds in. We got you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Truth Be Told explores your dilemmas, reaches out to Wise Ones for advice, and deliberately digs deep — because your questions, your story and your existence matters.\u003c/p>\n\u003cp>In our first season, we talked about the guilt of feeling joy when the world is a mess, we interrogated who we grew up crushing on and who we ultimately ended up dating. We scrutinized being enough within our own communities, the complications of working and living with well-meaning white folks and handling family dynamics with estranged fathers or debating whether or not to become a mother.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">For the past two months I’ve waited patiently for each Thursday to come, knowing that the @TruthBeToldShow crew would spark a conversation I needed to hear. Thank you for making this space for me and all POC people to thrive ❤️ \u003ca href=\"https://t.co/359T0ghdCX\">https://t.co/359T0ghdCX\u003c/a>\u003c/p>\n\u003cp>— bebé llora (@shaylynmartos) \u003ca href=\"https://twitter.com/shaylynmartos/status/1142878181189226497?ref_src=twsrc%5Etfw\">June 23, 2019\u003c/a>\u003c/p>\n\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">This week’s @TruthBeToldShow is essential listening for those of us who are white-passing or hold other kinds of passing privilege. It unpacks where, why & how we ask to belong, and the different places of marginalization or privilege that desire can come from. \u003ca href=\"https://t.co/aBWiNXCZvL\">https://t.co/aBWiNXCZvL\u003c/a>\u003c/p>\n\u003cp>— Ariana Martinez (@MartinezAriana_) \u003ca href=\"https://twitter.com/MartinezAriana_/status/1134871269726404609?ref_src=twsrc%5Etfw\">June 1, 2019\u003c/a>\u003c/p>\n\u003c/blockquote>\n\u003cp>Now we’re back with season two! Our host, Tonya Mosley, will delve into your questions, unearth the layers of your quandaries and pull in a Wise One for advice. This season will be full of growing pains, joy, laughter and collective thriving. And don’t worry, we’re still the place where hard questions meet understanding ears. Where people of color can be candid with each other and work through the messy parts of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season two starts on \u003cstrong>March 12\u003c/strong>! Listen on \u003ca href=\"https://podcasts.apple.com/us/podcast/truth-be-told/id1462216572\" target=\"_blank\" rel=\"noopener noreferrer\">Apple\u003c/a>, \u003ca href=\"https://open.spotify.com/show/587DhwTBxke6uvfwDfaV5N\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>, \u003ca href=\"https://www.npr.org/podcasts/719210818/truth-be-told\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or wherever you get your podcasts. If you want to submit a question you can email us at \u003cstrong>truthbetold@kqed.org\u003c/strong>, call us at \u003cstrong>(415) 553-2802\u003c/strong> or use the hashtag \u003cstrong>#AskTBT\u003c/strong> on social media.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How many times have you paused and asked, \u003cem>Is it just me or —\u003c/em>\u003c/p>\n\u003cblockquote class=\"embedly-card\" data-card-align=\"center\" data-card-theme=\"light\" data-card-key=\"315412bdcd554e5fab14e2295681d82f\">\n\u003ch4>\u003ca href=\"http://giphy.com/gifs/hulu-fox-the-mindy-project-l2SqaOMcLttOAn93q\">Confused Mindy Kaling GIF by HULU – Find & Share on GIPHY\u003c/a>\u003c/h4>\n\u003cp>GIF it up for GIFs from your favorite TV shows, Hulu Originals and Exclusive programming, but it doesn’t stop there. Sign up for Hulu now: hulu.com/welcome\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Yeah, us too. \u003c/strong>\u003c/p>\n\u003cp>We all experience life in our unique bodies and skin. And yet, we’re alone in surviving, growing and thriving. The world we live in gaslights us into thinking anything to do with identity is in our imagination. Well, Truth Be Told is here to tell you it’s not. You are not the only one, you are not alone and guess what? There’s a podcast for that.\u003c/p>\n\u003cp>Sometimes we are sitting with questions that we can’t even talk about with those closest to us.\u003c/p>\n\u003cp>Truth Be Told is the friend you call after a long day to cry, bitch and moan. The one who gets it. So grab a seat on the couch, pull up the podcast and put your earbuds in. We got you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Truth Be Told explores your dilemmas, reaches out to Wise Ones for advice, and deliberately digs deep — because your questions, your story and your existence matters.\u003c/p>\n\u003cp>In our first season, we talked about the guilt of feeling joy when the world is a mess, we interrogated who we grew up crushing on and who we ultimately ended up dating. We scrutinized being enough within our own communities, the complications of working and living with well-meaning white folks and handling family dynamics with estranged fathers or debating whether or not to become a mother.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">For the past two months I’ve waited patiently for each Thursday to come, knowing that the @TruthBeToldShow crew would spark a conversation I needed to hear. Thank you for making this space for me and all POC people to thrive ❤️ \u003ca href=\"https://t.co/359T0ghdCX\">https://t.co/359T0ghdCX\u003c/a>\u003c/p>\n\u003cp>— bebé llora (@shaylynmartos) \u003ca href=\"https://twitter.com/shaylynmartos/status/1142878181189226497?ref_src=twsrc%5Etfw\">June 23, 2019\u003c/a>\u003c/p>\n\u003c/blockquote>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp dir=\"ltr\" lang=\"en\">This week’s @TruthBeToldShow is essential listening for those of us who are white-passing or hold other kinds of passing privilege. It unpacks where, why & how we ask to belong, and the different places of marginalization or privilege that desire can come from. \u003ca href=\"https://t.co/aBWiNXCZvL\">https://t.co/aBWiNXCZvL\u003c/a>\u003c/p>\n\u003cp>— Ariana Martinez (@MartinezAriana_) \u003ca href=\"https://twitter.com/MartinezAriana_/status/1134871269726404609?ref_src=twsrc%5Etfw\">June 1, 2019\u003c/a>\u003c/p>\n\u003c/blockquote>\n\u003cp>Now we’re back with season two! Our host, Tonya Mosley, will delve into your questions, unearth the layers of your quandaries and pull in a Wise One for advice. This season will be full of growing pains, joy, laughter and collective thriving. And don’t worry, we’re still the place where hard questions meet understanding ears. Where people of color can be candid with each other and work through the messy parts of life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Season two starts on \u003cstrong>March 12\u003c/strong>! Listen on \u003ca href=\"https://podcasts.apple.com/us/podcast/truth-be-told/id1462216572\" target=\"_blank\" rel=\"noopener noreferrer\">Apple\u003c/a>, \u003ca href=\"https://open.spotify.com/show/587DhwTBxke6uvfwDfaV5N\" target=\"_blank\" rel=\"noopener noreferrer\">Spotify\u003c/a>, \u003ca href=\"https://www.npr.org/podcasts/719210818/truth-be-told\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or wherever you get your podcasts. If you want to submit a question you can email us at \u003cstrong>truthbetold@kqed.org\u003c/strong>, call us at \u003cstrong>(415) 553-2802\u003c/strong> or use the hashtag \u003cstrong>#AskTBT\u003c/strong> on social media.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland City Council voted Tuesday to approve the appointment of 11 people to the city’s long-dormant Cultural Affairs Commission. [aside postID=arts_13861153,arts_13873207,arts_13866026]\u003c/p>\n\u003cp>The commission, inactive since 2011, will advise city officials on policy affecting the arts, and advocate for the Cultural Funding Program (CFP), which awards $1 million to local artists and nonprofits annually. Its revival marks another step in the city’s fitful efforts to buoy the arts. \u003c/p>\n\u003cp>The appointees are working artists, nonprofit professionals and policy experts including Theo “Aytchan” Williams, director of Carnaval arts group SambaFunk; Jennifer Easton, public art director at Bay Area Rapid Transit; Diane Sanchez, a philanthropy consultant; and Kevin “Kev” Choice, an educator and musician who’s worked with Goapele and Lauryn Hill. (Full list below.) \u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf praised the new commissioners and their connections to the city. “The importance of arts and culture in creating a vibrant and just city is shown by the breadth of experience of the commission members who are dancers, musicians, curators, cultural strategists, educators, non-profit administrators, lawyers, publishers, writers, storytellers, community organizers and civil engineers,” she said in a statement.\u003c/p>\n\u003cp>Williams of SambaFunk, one of the Afro-diasporic dance and drumming organizations based in the city-owned Malonga Casquelourd Center for the Arts, said he’s pleased to represent performing arts often overlooked next to ballet and the symphony. Like most local arts figures with an eye on City Hall, Williams also sees a gap to close between officials’ praise of Oakland’s cultural life and investment in its perseverance. “So the main thing is more funding,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This conversation is old,” Williams added. “We have a document from ’98 about the woes of the Malonga, what was then the Alice Arts Center, and they’re almost verbatim the same as now.”\u003c/p>\n\u003cp>The commission is an unpaid one- to three-year position, and appointees are ineligible for CFP grants during their tenure. Commissioner Charmin Roundtree-Baaqee also serves on the Public Art Advisory Committee. A total of 93 people applied for the post, according to a staff report, and council members approved Schaaf’s 11 appointments Tuesday night. \u003c/p>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager since 2016, calls the commissioners “ambassadors and advocates,” describing their role as drumming up support for and illustrating the value of the Cultural Funding Program. In 2018, Oakland \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\">adopted\u003c/a> a Cultural Plan for alleviating cost-of-living pressures on local artists and sustaining community identity, but city officials have not provided funding significant enough to enact most of its recommendations. \u003c/p>\n\u003cp>CFP staff is struggling under increased demand for grants. The number of applications rose 25 percent between 2018 and 2019 to a total of 171, CFP records show. Partly due to the mounting workload, with only a few staffers administering a multi-step ranking and approval process, this year sees the art-in-schools grant category temporarily suspended. According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is half of what it was in 2001. \u003c/p>\n\u003cp>And it’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrinking\u003c/a>: A onetime $230,000 nudge to the CFP budget from 2017 lapses this year, resulting in an expected 17 percent reduction. A $100,000 murals set-aside from 2017 also recently disappeared before it could be spent, Bedoya said at a recent committee hearing, due to anticipated revenue shortfalls after council members reduced cannabis taxes. “If I can have commissioners call up and say, ‘Gimme back that money,’ it would help a lot,” Bedoya said. \u003c/p>\n\u003cp>The Cultural Funding Program regularly supports organizations such as Creative Growth, The Crucible, Oakland Ballet, Ubuntu Theater Project and Pro Arts as well as individual artists such as Karen Smith, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">profile\u003c/a> for \u003ca href=\"https://www.kqed.org/thehustle\" rel=\"noopener noreferrer\" target=\"_blank\">The Hustle\u003c/a>, KQED’s series about artists and money. One storyline in Tommy Orange’s acclaimed 2018 novel \u003cem>There, There\u003c/em> draws on the author’s CFP-supported oral history project. \u003c/p>\n\u003cp>The Cultural Affairs Commission appointees are: \u003c/p>\n\u003cp>Roy Chan, Community planning manager at the Chinatown Community Development Center\u003c/p>\n\u003cp>Jennifer Easton, Public art director at San Francisco Bay Area Rapid Transit \u003c/p>\n\u003cp>Michael Orange, Founding director of Matatu\u003c/p>\n\u003cp>Vanessa Whang, Lead consultant on the Cultural Plan \u003c/p>\n\u003cp>Kevin “Kev” Choice, Music instructor at Oakland School for the Arts \u003c/p>\n\u003cp>JK Fowler, Founder and executive director of Nomadic Press\u003c/p>\n\u003cp>Michelle Lee, Founder of Whole Story Group \u003c/p>\n\u003cp>Diane Sanchez, Philanthropy consultant \u003c/p>\n\u003cp>Richard Raya, Legal educator at Centro Legal de la Raza \u003c/p>\n\u003cp>Charmin Roundtree-Baaqee, Founder of Art is Luv \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Theo “Aytchan” Williams, Director of SambaFunk \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The commission, inactive since 2011, will advise city officials on policy affecting the arts, and advocate for the Cultural Funding Program (CFP), which awards $1 million to local artists and nonprofits annually. Its revival marks another step in the city’s fitful efforts to buoy the arts. \u003c/p>\n\u003cp>The appointees are working artists, nonprofit professionals and policy experts including Theo “Aytchan” Williams, director of Carnaval arts group SambaFunk; Jennifer Easton, public art director at Bay Area Rapid Transit; Diane Sanchez, a philanthropy consultant; and Kevin “Kev” Choice, an educator and musician who’s worked with Goapele and Lauryn Hill. (Full list below.) \u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf praised the new commissioners and their connections to the city. “The importance of arts and culture in creating a vibrant and just city is shown by the breadth of experience of the commission members who are dancers, musicians, curators, cultural strategists, educators, non-profit administrators, lawyers, publishers, writers, storytellers, community organizers and civil engineers,” she said in a statement.\u003c/p>\n\u003cp>Williams of SambaFunk, one of the Afro-diasporic dance and drumming organizations based in the city-owned Malonga Casquelourd Center for the Arts, said he’s pleased to represent performing arts often overlooked next to ballet and the symphony. Like most local arts figures with an eye on City Hall, Williams also sees a gap to close between officials’ praise of Oakland’s cultural life and investment in its perseverance. “So the main thing is more funding,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This conversation is old,” Williams added. “We have a document from ’98 about the woes of the Malonga, what was then the Alice Arts Center, and they’re almost verbatim the same as now.”\u003c/p>\n\u003cp>The commission is an unpaid one- to three-year position, and appointees are ineligible for CFP grants during their tenure. Commissioner Charmin Roundtree-Baaqee also serves on the Public Art Advisory Committee. A total of 93 people applied for the post, according to a staff report, and council members approved Schaaf’s 11 appointments Tuesday night. \u003c/p>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager since 2016, calls the commissioners “ambassadors and advocates,” describing their role as drumming up support for and illustrating the value of the Cultural Funding Program. In 2018, Oakland \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\">adopted\u003c/a> a Cultural Plan for alleviating cost-of-living pressures on local artists and sustaining community identity, but city officials have not provided funding significant enough to enact most of its recommendations. \u003c/p>\n\u003cp>CFP staff is struggling under increased demand for grants. The number of applications rose 25 percent between 2018 and 2019 to a total of 171, CFP records show. Partly due to the mounting workload, with only a few staffers administering a multi-step ranking and approval process, this year sees the art-in-schools grant category temporarily suspended. According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is half of what it was in 2001. \u003c/p>\n\u003cp>And it’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrinking\u003c/a>: A onetime $230,000 nudge to the CFP budget from 2017 lapses this year, resulting in an expected 17 percent reduction. A $100,000 murals set-aside from 2017 also recently disappeared before it could be spent, Bedoya said at a recent committee hearing, due to anticipated revenue shortfalls after council members reduced cannabis taxes. “If I can have commissioners call up and say, ‘Gimme back that money,’ it would help a lot,” Bedoya said. \u003c/p>\n\u003cp>The Cultural Funding Program regularly supports organizations such as Creative Growth, The Crucible, Oakland Ballet, Ubuntu Theater Project and Pro Arts as well as individual artists such as Karen Smith, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">profile\u003c/a> for \u003ca href=\"https://www.kqed.org/thehustle\" rel=\"noopener noreferrer\" target=\"_blank\">The Hustle\u003c/a>, KQED’s series about artists and money. One storyline in Tommy Orange’s acclaimed 2018 novel \u003cem>There, There\u003c/em> draws on the author’s CFP-supported oral history project. \u003c/p>\n\u003cp>The Cultural Affairs Commission appointees are: \u003c/p>\n\u003cp>Roy Chan, Community planning manager at the Chinatown Community Development Center\u003c/p>\n\u003cp>Jennifer Easton, Public art director at San Francisco Bay Area Rapid Transit \u003c/p>\n\u003cp>Michael Orange, Founding director of Matatu\u003c/p>\n\u003cp>Vanessa Whang, Lead consultant on the Cultural Plan \u003c/p>\n\u003cp>Kevin “Kev” Choice, Music instructor at Oakland School for the Arts \u003c/p>\n\u003cp>JK Fowler, Founder and executive director of Nomadic Press\u003c/p>\n\u003cp>Michelle Lee, Founder of Whole Story Group \u003c/p>\n\u003cp>Diane Sanchez, Philanthropy consultant \u003c/p>\n\u003cp>Richard Raya, Legal educator at Centro Legal de la Raza \u003c/p>\n\u003cp>Charmin Roundtree-Baaqee, Founder of Art is Luv \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Theo “Aytchan” Williams, Director of SambaFunk \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. [aside postid='arts_13849044']\u003c/p>\n\u003cp>“I think perhaps we are living through something that is very similar to the Weimar Republic without knowing it,” Salonen said in a statement. “We witnessed a number of years of relative prosperity, calm, rationality, optimism and growth. And very suddenly things started unraveling, with the financial crash and rise of populist movements around the world.”\u003c/p>\n\u003cp>“On the Precipice” takes place June 17–26, 2021, with the San Francisco Symphony giving the U.S. premiere of Bryce Dressner’s violin concerto (that’s Bryce Dressner of indie rock band The National), performed by violinist Pekka Kuusisto. (Kuusisto and Dressner are among Salonen’s Collaborative Partners, his “brain trust” of eight interdisciplinary artists who serve as advisers and guest curators.) The orchestra is also slated to perform a semi-staged evening of musical theater centered on Weill and Brecht’s satirical \u003cem>Die Sieben Todsünden \u003c/em>(The Seven Deadly Sins), which was written after the composers fled to Paris to escape Nazi Germany.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As part of another program, “Voices of Change: Reporting on the Human Condition,” the orchestra will perform the West Coast premiere of Julia Wolfe’s \u003cem>Her Story\u003c/em>, a San Francisco Symphony co-commission commemorating the 100-year anniversary of the ratification of women’s suffrage. The program, taking place Nov. 12 and 14, 2020, includes a piano concerto composed by Florence Price, the first black woman to be widely recognized as a symphonic composer.\u003c/p>\n\u003cp>On Feb. 4 and 6, 2021, the Symphony performs Gabriel Kahane’s \u003cem>emergency shelter intake form\u003c/em>, a song cycle that deals with systemic inequality and homelessness, featuring mezzo-soprano Alicia Hall Moran and vocalists Holland Andrews, Gabriel Kahane and \u003ca href=\"https://www.kqed.org/arts/13844854/holcombe-waller-honors-lgbtq-community-with-requiem-mass\" target=\"_blank\" rel=\"noopener noreferrer\">Holcombe Waller\u003c/a> with a community chorus.\u003c/p>\n\u003cp>Much of the San Francisco Symphony’s 2020–21 season anchors around Salonen’s projects with his Collaborative Partners, who—in addition to the aforementioned Kuusisto and Dressner—include bassist Esperanza Spalding, classical vocalist Julia Bullock, experimental flutist Claire Chase, composer and pianist Nicholas Britell, composer Nico Muhly and artificial intelligence entrepreneur Carol Reiley.\u003c/p>\n\u003cp>The season opens with three weeks of concerts and events centered around the Collaborative Partners’ interpretations of Bach, and the programming will be announced in July 2020. See the rest of the SF Symphony’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">2020–21 season\u003c/a> here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the San Francisco Symphony announced Esa-Pekka Salonen would take the helm from Michael Tilson Thomas as the orchestra’s music director in 2020, the Finish conductor and composer \u003ca href=\"https://www.kqed.org/arts/13846535/its-esa-pekkas-city-eventually\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> that he wanted to go against the grain and work within the “anti-establishment part” of the performing arts world.\u003c/p>\n\u003cp>Today, the orchestra announced Salonen’s \u003ca href=\"https://www.sfsymphony.org/Calendar/Season-Highlights\" target=\"_blank\" rel=\"noopener noreferrer\">inaugural season\u003c/a> with a progressive slate of programming, much of which emphasizes classical works that resonate with today’s social and political issues, plus several premieres of new pieces that echo those themes.\u003c/p>\n\u003cp>The program “On the Precipice: Music of the Weimar Republic” focuses on the ways art responded to the rise of fascism in pre-World War II Germany. \u003c/p>\u003c/div>",
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"link": "https://www.cityarts.net",
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},
"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"jerrybrown": {
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"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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