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"disqusTitle": "The Cloud Over The Grammys: Allegations Of Sexual Misconduct, Vote Rigging",
"title": "The Cloud Over The Grammys: Allegations Of Sexual Misconduct, Vote Rigging",
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"content": "\u003cp>Winners of the 62nd Grammy Awards will be announced Sunday night — but there's a cloud hanging over the ceremony. Last week, Deborah Dugan, the recently installed president and CEO of the Recording Academy — which hands out the awards — was placed on administrative leave. Earlier this week, Dugan filed a discrimination \u003ca href=\"https://www.documentcloud.org/documents/6667812-Dugan-EEOC-Complaint.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> with the Equal Employment Opportunity Commission that includes allegations of sexual misconduct and vote rigging.\u003c/p>\n\u003cp>The Recording Academy has been struggling for years with criticism that the Grammys were too male, too white, too old and too insular. In came Dugan five months ago, as the Academy's first female leader.\u003c/p>\n\u003cp>She pledged that the organization could do better, as she told NPR in an interview \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\" target=\"_blank\" rel=\"noopener noreferrer\">last month\u003c/a>: \"We've known as an industry for a long time that we have a monumental problem with gender issues.\"\u003c/p>\n\u003cp>Then, just over a week ago and only 10 days before the awards telecast, the Recording Academy \u003ca href=\"https://www.npr.org/2020/01/17/797208517/recording-academy-ceo-suspended-amid-allegations-of-misconduct\">abruptly announced\u003c/a> that it had placed Dugan on leave pending an investigation into an allegation of bullying that came from a female assistant. But in an interview Thursday, Dugan claimed she was placed on leave as retaliation for accusations she made, and changes she proposed.\u003c/p>\n\u003cp>Specifically, Dugan says her suspension is the result of a memo she sent in December to the Academy's Human Resources director, which included an accusation that she had been sexually harassed by the Academy's general counsel, \u003ca href=\"https://www.gtlaw.com/en/professionals/k/katz-joel-a\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Katz\u003c/a>. (Katz is also a former Academy board chair.)\u003c/p>\n\u003cp>In her EEOC complaint, Dugan reiterated her accusations against Katz — and she said she learned that her predecessor, Neil Portnow, had been accused of raping a female artist. Both Katz and Portnow \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">deny the accusations\u003c/a>, and Portnow said in a statement that he was investigated and exonerated. In the complaint, Dugan also repeated and elaborated upon her accusations from the HR memo related to questionable financial expenditures, rigged Grammy voting and self-dealing at the public, non-profit organization.\u003c/p>\n\u003cp>In an interview with NPR on Thursday, Dugan reiterated her accusation against Katz as it is laid out in the EEOC complaint. She said that the incident occurred on May 18, 2019, before she had started officially working at the Academy in August. She had been invited to attend the first day of a three-day board session held at the Ritz Carlton hotel in Laguna Niguel, Calif. She says Katz (an extremely high-profile attorney who recently negotiated \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\" target=\"_blank\" rel=\"noopener noreferrer\">the sale\u003c/a> of Taylor Swift's former label home, Big Machine Label Group, to Scooter Braun's Ithaca Holdings Group) invited her to dine with him that evening.\u003c/p>\n\u003cp>\"Under the guise of a work dinner,\" she told NPR, \"I was propositioned by the general counsel — that is, Joel [Katz]. It started with calling me 'baby' and telling me how pretty I was. And then in the course of the dinner, after ordering a bottle of wine, I got a little more uncomfortable. He was talking about his private plane and trips that we could do and it ended with him leaning forward to kiss me. As I look back now, I think that there — the fact that they had me meet him and have dinner with him first — was sort of a test of how much I would acquiesce to.\"\u003cspan style=\"font-weight: 400\">[aside tag='sexual-harassment' label='Related Coverage']\u003c/span>In the moment, Dugan added, she had been \"disgusted and bewildered,\" and that she immediately went back to her hotel room and called \"quite a few people\" to tell them what had happened.\u003c/p>\n\u003cp>In a statement sent to NPR on Wednesday, Katz's lawyer, Howard Weitzman, said in part: \"Ms. Dugan's allegations of harassment and her description of a dinner at the steakhouse in the Ritz Carlton, Laguna Niguel are false, and Mr. Katz categorically and emphatically denies her version of that evening. .... Mr. Katz believed they had a productive and professional meeting in a restaurant where a number of members of the Board of Trustees of the Academy, and others, were dining. ... Mr. Katz will cooperate in any and all investigations or lawsuits by telling the absolute and whole truth. Hopefully Ms. Dugan will do the same.\"\u003c/p>\n\u003cp>\"You hear about these things in entertainment and certainly for women in leadership,\" said Dugan, who immediately prior to coming the Academy had led the charity (RED) after roles as president of Disney Publishing Worldwide and as an executive at EMI Records Group. \"But after so many years, and having such a track record of integrity and purpose, to have this happen — I was very disillusioned and to be honest, a little scared ... And there was a continuing pattern afterwards of whenever we had private conversations, he was calling me 'baby,' telling me how pretty I was.\"\u003c/p>\n\u003cp>Dugan and her lawyer, Douglas Wigdor, denied to NPR that she had bullied the Academy employee — a woman named Claudine Little, who had previously served as the executive assistant to Portnow. The Academy has said that Dugan \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">is accused\u003c/a> of creating a \"toxic and intolerable\" work environment and engaging in \"abusive and bullying conduct.\"\u003c/p>\n\u003cp>In a statement sent to NPR via the Recording Academy on Wednesday, Little said: \"Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO. I am proud of my career with the Academy—where, as a woman, I was able to work my way from secretary to director of administration in the executive suite, solely based on merit and while working for and with leaders far more demanding and hard-charging than Ms. Dugan. It is disappointing that Ms. Dugan hopes to leverage public opinion along gender lines and expects not to be scrutinized for her inexcusable behavior simply because she is a woman; she should be held to the same standard.\"\u003c/p>\n\u003cp>In the Thursday NPR interview, Dugan said that she had found Little's work lacking, and that she had suggested moving the assistant into another role at the Academy rather than terminate her employment. (The situation with Little is also described in the EEOC complaint.)\u003c/p>\n\u003cp>Wigdor added: \"Neil Portnow was accused of rape. Was he placed on administrative leave? No. So to place Deborah on an administrative leave over being bossy — and by the way, women are bossy, men are bosses — to put her on an administrative leave over something as innocuous and benign as being allegedly bossy to an administrative assistant just doesn't make any sense.\"\u003c/p>\n\u003cp>In the discrimination complaint, Dugan also repeated her allegations of irregularities and conflicts of interest in the Grammy voting process, as well as substantial payouts of fees to outside law firms and to individual board members.\u003c/p>\n\u003cp>These include payouts to Greenberg Traurig, where Joel Katz is an attorney. In \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017\u003c/a>, according to the Academy's 990 forms, the firm was paid $6.3 million, as well as $1.75 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016\u003c/a> and over $1.1 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2015_naras_form_990_public_discolusre_copy.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015\u003c/a>, with similar amounts in the two previous years. According to the EEOC filing, the Academy also pays Katz personally $250,000 annually as a retainer.\u003c/p>\n\u003cp>Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO.\u003c/p>\n\u003cp>On Thursday, Dugan also said that the board and executive committee reacted negatively to some urgent recommendations from the Academy's Diversity and Inclusion Task Force, a group formed in the wake of widely denounced comments made by her predecessor, longtime Academy president and CEO Portnow. (After the 2018 Grammy Awards ceremony was criticized for a lack of female nominees and performers, Portnow said that women in the industry would just have to \"\u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">step up\u003c/a>\" to be recognized.)\u003c/p>\n\u003cp>\"There were some things I got pushback on like, 'Oh, we don't need a chief diversity officer,\" Dugan told NPR. She also described what she saw as conflicts of interest in the process of nominating artists for Grammys.\u003c/p>\n\u003cp>\"There is a degree of corruption in that system,\" she said. \"There is a problem when you have board members on those committees who have a vested interest in having certain artists winning.\"\u003cspan style=\"font-weight: 400\">[pullquote size='large' align='right' citation='Statement from the Recording Academy']'Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO.'[/pullquote]\u003c/span>\u003c/p>\n\u003cp>She also reiterated in her EEOC complaint that the telecast's producer of 40 years, Ken Ehrlich, holds undue influence over the nominations for high-profile Grammy award categories, including Record of the Year and Album of the Year.\u003c/p>\n\u003cp>\"Do I think that this system of him making it clear who he'd like on the show to the board members who are then in the room voting is not a correct one going forward?\" she asked rhetorically. \"I do. I think it should be changed.\"\u003c/p>\n\u003cp>In an email sent to \u003ca href=\"https://www.nytimes.com/2020/01/23/arts/music/grammys-deborah-dugan.html\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a> on Thursday, Ehrlich said, \"There is no truth to what she alleges.\"\u003c/p>\n\u003cp>In a statement sent to NPR on Thursday afternoon, the chairman of the Recording Academy, Harvey Mason, Jr., and Bill Freimuth, the Academy's Chief Awards Officer, said in part: \"Spurious allegations claiming members or committees use our process to push forward nominations for artists they have relationships with are categorically false, misleading and wrong. ... Because these committee members are at the top of their craft, and many members work with multiple artists, it is not unusual that some of the people in each room will end up with nominations from the first round. There are strict rules in place to address any conflict of interest.\"\u003c/p>\n\u003cp>(Up until about a decade ago, I was a Grammy voter, and also served on the \"craft\" committee for the Best Album Notes field, one of a small group of Grammy categories outside the \"nomination review\" process and not voted on by the general membership. In addition, my husband, Joshua Sherman, was also a Grammy voter, and served on Academy committees; he was also part of teams that created several Grammy-winning recordings, and he produced several other Grammy-nominated albums. In my own experience, it is certainly true that in certain Grammy categories, especially in smaller genres or for fields involving particular professional expertise, there is a limited universe of accredited Grammy voters willing to volunteer their time to serve on award committees.)\u003c/p>\n\u003cp>Mason, a Grammy-nominated songwriter, record producer and music executive, just became the chair of the Recording Academy's board of trustees \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\" target=\"_blank\" rel=\"noopener noreferrer\">in June\u003c/a>. After Dugan was put on leave, he became its is acting CEO. In a Thursday interview with NPR, he would not answer any specific questions about the Dugan situation or the conflicting narratives, saying that the behind-the-scenes struggle detracted from the awards ceremony.\u003c/p>\n\u003cp>\"This is our biggest season for me,\" he said, \"and this night is everything to our organization. What we are doing is really focusing on the show and the musicians, and trying to make sure that the spotlight doesn't get taken away from that.\"\u003c/p>\n\u003cp>When asked if he took Dugan's allegations — including sexual misconduct, significant financial improprieties, and vote rigging — as grave matters, Mason said, \"Everything is taken seriously. Anything that somebody says, whether it's a guy at the coffee shop that I run into and says, 'You know, the Academy should do this...' I take all that stuff seriously.\"\u003c/p>\n\u003cp>In speaking to NPR, Mason also emphasized that the Academy has begun two separate investigations into the allegations by Little and Dugan; Mason said the investigations would be independent and transparent. But he declined to give any timeline for that work, and said repeatedly that he did not know what firm or firms were leading those investigations, adding that they were \"people that we had no association with and no connection to.\"\u003c/p>\n\u003cp>According to Dugan's EEOC complaint, however, the investigators were selected by the law firm Proskauer Rose — a firm that charged the Academy over \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$900,000\u003c/a> in 2017 and over \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000\u003c/a> in 2016, the most recent years for which financial information is available. (A partner at Proskauer Rose, \u003ca href=\"https://www.proskauer.com/professionals/charles-ortner\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Ortner\u003c/a>, serves as national legal counsel to the Academy, and is one of the most powerful lawyers in the entertainment industry; his client list has included Universal Music Group, Sony Music Entertainment, U2 and Madonna.)\u003c/p>\n\u003cp>On Thursday night, the Academy's Task Force on Diversity and Inclusion, (which is chaired by Tina Tchen, the president and CEO of Time's Up), issued its own statement. It reiterated its December recommendations, which Dugan had promised to implement almost in entirety.\u003c/p>\n\u003cp>Writing of its collective \"shock and dismay,\" the 18-member volunteer group urged the Grammy organization to implement several concrete steps in particular, including hiring a dedicated diversity executive \"to lead the deeper changes that are obviously needed.\" The statement continued, in part: \"We are deeply disappointed at the level of commitment by some of the Academy's leadership in effecting the kind of real and constructive change presented in our report. We are confident that they can do better.\"\u003c/p>\n\u003cp>Mason told NPR on Thursday that he was still very committed to diversity improvements at the Academy, noting that they had been part of his own campaign for chair. \"The plan is definitely to continue to push those through and make sure they all happen,\" he said.\u003c/p>\n\u003cp>But least one more member of the task force has spoken out even more forcefully as an individual. Ty Stiklorius, a prominent artist manager whose client roster includes singer John Legend and crossover violinist Lindsey Stirling, posted on Twitter Thursday: \"I won't stay quiet on this. As an Academy Inclusivity Task Force member I saw the inner workings & lack of transparency. The board voted down our recommendation of Ranked Choice Voting. They have not implemented our recommendations but used us \u003ca href=\"https://twitter.com/tystiklorius/status/1220431046258364419?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">as a pawn\u003c/a>.\"\u003c/p>\n\u003cp>https://twitter.com/tystiklorius/status/1220431046258364419?s=20\u003c/p>\n\u003cp>As of now, however, no artists slated to perform at the Grammys telecast Sunday night have pulled out. Billboard magazine's executive editor West Coast and Nashville, Melinda Newman, has a theory.\u003c/p>\n\u003cp>\"I honestly think this is so complex,\" she says. \"Once you've heard one thing and you think you might have enough information to make your mind up, something else drops and you're like, 'Wow, hang on a second.' I think we haven't seen the reaction yet because people are shocked.\"\u003c/p>\n\u003cp>As Sunday night approaches, Deborah Dugan said that her short tenure at the Recording Academy illustrates three things.\u003c/p>\n\u003cp>\"This has hit me about women CEOs and corporate America,\" she said. \"This has hit me on how hard it is for women in the music industry. And it's hit me, and I can't believe it, that three years after the #MeToo movement... we still have this system of character assassination — dig up dirt on this woman and trying to trash her in the press. I'm deeply saddened and profoundly upset that I was slapped with all three of those issues.\"\u003c/p>\n\u003cp>That is, all of the issues she was hired to address.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Winners of the 62nd Grammy Awards will be announced Sunday night — but there's a cloud hanging over the ceremony. Last week, Deborah Dugan, the recently installed president and CEO of the Recording Academy — which hands out the awards — was placed on administrative leave. Earlier this week, Dugan filed a discrimination \u003ca href=\"https://www.documentcloud.org/documents/6667812-Dugan-EEOC-Complaint.html\" target=\"_blank\" rel=\"noopener noreferrer\">complaint\u003c/a> with the Equal Employment Opportunity Commission that includes allegations of sexual misconduct and vote rigging.\u003c/p>\n\u003cp>The Recording Academy has been struggling for years with criticism that the Grammys were too male, too white, too old and too insular. In came Dugan five months ago, as the Academy's first female leader.\u003c/p>\n\u003cp>She pledged that the organization could do better, as she told NPR in an interview \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\" target=\"_blank\" rel=\"noopener noreferrer\">last month\u003c/a>: \"We've known as an industry for a long time that we have a monumental problem with gender issues.\"\u003c/p>\n\u003cp>Then, just over a week ago and only 10 days before the awards telecast, the Recording Academy \u003ca href=\"https://www.npr.org/2020/01/17/797208517/recording-academy-ceo-suspended-amid-allegations-of-misconduct\">abruptly announced\u003c/a> that it had placed Dugan on leave pending an investigation into an allegation of bullying that came from a female assistant. But in an interview Thursday, Dugan claimed she was placed on leave as retaliation for accusations she made, and changes she proposed.\u003c/p>\n\u003cp>Specifically, Dugan says her suspension is the result of a memo she sent in December to the Academy's Human Resources director, which included an accusation that she had been sexually harassed by the Academy's general counsel, \u003ca href=\"https://www.gtlaw.com/en/professionals/k/katz-joel-a\" target=\"_blank\" rel=\"noopener noreferrer\">Joel Katz\u003c/a>. (Katz is also a former Academy board chair.)\u003c/p>\n\u003cp>In her EEOC complaint, Dugan reiterated her accusations against Katz — and she said she learned that her predecessor, Neil Portnow, had been accused of raping a female artist. Both Katz and Portnow \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">deny the accusations\u003c/a>, and Portnow said in a statement that he was investigated and exonerated. In the complaint, Dugan also repeated and elaborated upon her accusations from the HR memo related to questionable financial expenditures, rigged Grammy voting and self-dealing at the public, non-profit organization.\u003c/p>\n\u003cp>In an interview with NPR on Thursday, Dugan reiterated her accusation against Katz as it is laid out in the EEOC complaint. She said that the incident occurred on May 18, 2019, before she had started officially working at the Academy in August. She had been invited to attend the first day of a three-day board session held at the Ritz Carlton hotel in Laguna Niguel, Calif. She says Katz (an extremely high-profile attorney who recently negotiated \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\" target=\"_blank\" rel=\"noopener noreferrer\">the sale\u003c/a> of Taylor Swift's former label home, Big Machine Label Group, to Scooter Braun's Ithaca Holdings Group) invited her to dine with him that evening.\u003c/p>\n\u003cp>\"Under the guise of a work dinner,\" she told NPR, \"I was propositioned by the general counsel — that is, Joel [Katz]. It started with calling me 'baby' and telling me how pretty I was. And then in the course of the dinner, after ordering a bottle of wine, I got a little more uncomfortable. He was talking about his private plane and trips that we could do and it ended with him leaning forward to kiss me. As I look back now, I think that there — the fact that they had me meet him and have dinner with him first — was sort of a test of how much I would acquiesce to.\"\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>In the moment, Dugan added, she had been \"disgusted and bewildered,\" and that she immediately went back to her hotel room and called \"quite a few people\" to tell them what had happened.\u003c/p>\n\u003cp>In a statement sent to NPR on Wednesday, Katz's lawyer, Howard Weitzman, said in part: \"Ms. Dugan's allegations of harassment and her description of a dinner at the steakhouse in the Ritz Carlton, Laguna Niguel are false, and Mr. Katz categorically and emphatically denies her version of that evening. .... Mr. Katz believed they had a productive and professional meeting in a restaurant where a number of members of the Board of Trustees of the Academy, and others, were dining. ... Mr. Katz will cooperate in any and all investigations or lawsuits by telling the absolute and whole truth. Hopefully Ms. Dugan will do the same.\"\u003c/p>\n\u003cp>\"You hear about these things in entertainment and certainly for women in leadership,\" said Dugan, who immediately prior to coming the Academy had led the charity (RED) after roles as president of Disney Publishing Worldwide and as an executive at EMI Records Group. \"But after so many years, and having such a track record of integrity and purpose, to have this happen — I was very disillusioned and to be honest, a little scared ... And there was a continuing pattern afterwards of whenever we had private conversations, he was calling me 'baby,' telling me how pretty I was.\"\u003c/p>\n\u003cp>Dugan and her lawyer, Douglas Wigdor, denied to NPR that she had bullied the Academy employee — a woman named Claudine Little, who had previously served as the executive assistant to Portnow. The Academy has said that Dugan \u003ca href=\"https://www.npr.org/2020/01/21/798269611/ousted-female-chief-files-discrimination-complaint-against-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">is accused\u003c/a> of creating a \"toxic and intolerable\" work environment and engaging in \"abusive and bullying conduct.\"\u003c/p>\n\u003cp>In a statement sent to NPR via the Recording Academy on Wednesday, Little said: \"Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO. I am proud of my career with the Academy—where, as a woman, I was able to work my way from secretary to director of administration in the executive suite, solely based on merit and while working for and with leaders far more demanding and hard-charging than Ms. Dugan. It is disappointing that Ms. Dugan hopes to leverage public opinion along gender lines and expects not to be scrutinized for her inexcusable behavior simply because she is a woman; she should be held to the same standard.\"\u003c/p>\n\u003cp>In the Thursday NPR interview, Dugan said that she had found Little's work lacking, and that she had suggested moving the assistant into another role at the Academy rather than terminate her employment. (The situation with Little is also described in the EEOC complaint.)\u003c/p>\n\u003cp>Wigdor added: \"Neil Portnow was accused of rape. Was he placed on administrative leave? No. So to place Deborah on an administrative leave over being bossy — and by the way, women are bossy, men are bosses — to put her on an administrative leave over something as innocuous and benign as being allegedly bossy to an administrative assistant just doesn't make any sense.\"\u003c/p>\n\u003cp>In the discrimination complaint, Dugan also repeated her allegations of irregularities and conflicts of interest in the Grammy voting process, as well as substantial payouts of fees to outside law firms and to individual board members.\u003c/p>\n\u003cp>These include payouts to Greenberg Traurig, where Joel Katz is an attorney. In \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017\u003c/a>, according to the Academy's 990 forms, the firm was paid $6.3 million, as well as $1.75 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2016\u003c/a> and over $1.1 million in \u003ca href=\"https://www.grammy.com/sites/com/files/2015_naras_form_990_public_discolusre_copy.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2015\u003c/a>, with similar amounts in the two previous years. According to the EEOC filing, the Academy also pays Katz personally $250,000 annually as a retainer.\u003c/p>\n\u003cp>Ms. Dugan's choice to litigate in the press and spread a false narrative about the Academy and me and my colleagues is regrettable, but it is also emblematic of Ms. Dugan's abusive and bullying conduct while she served as the Academy's president and CEO.\u003c/p>\n\u003cp>On Thursday, Dugan also said that the board and executive committee reacted negatively to some urgent recommendations from the Academy's Diversity and Inclusion Task Force, a group formed in the wake of widely denounced comments made by her predecessor, longtime Academy president and CEO Portnow. (After the 2018 Grammy Awards ceremony was criticized for a lack of female nominees and performers, Portnow said that women in the industry would just have to \"\u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">step up\u003c/a>\" to be recognized.)\u003c/p>\n\u003cp>\"There were some things I got pushback on like, 'Oh, we don't need a chief diversity officer,\" Dugan told NPR. She also described what she saw as conflicts of interest in the process of nominating artists for Grammys.\u003c/p>\n\u003cp>\"There is a degree of corruption in that system,\" she said. \"There is a problem when you have board members on those committees who have a vested interest in having certain artists winning.\"\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>She also reiterated in her EEOC complaint that the telecast's producer of 40 years, Ken Ehrlich, holds undue influence over the nominations for high-profile Grammy award categories, including Record of the Year and Album of the Year.\u003c/p>\n\u003cp>\"Do I think that this system of him making it clear who he'd like on the show to the board members who are then in the room voting is not a correct one going forward?\" she asked rhetorically. \"I do. I think it should be changed.\"\u003c/p>\n\u003cp>In an email sent to \u003ca href=\"https://www.nytimes.com/2020/01/23/arts/music/grammys-deborah-dugan.html\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a> on Thursday, Ehrlich said, \"There is no truth to what she alleges.\"\u003c/p>\n\u003cp>In a statement sent to NPR on Thursday afternoon, the chairman of the Recording Academy, Harvey Mason, Jr., and Bill Freimuth, the Academy's Chief Awards Officer, said in part: \"Spurious allegations claiming members or committees use our process to push forward nominations for artists they have relationships with are categorically false, misleading and wrong. ... Because these committee members are at the top of their craft, and many members work with multiple artists, it is not unusual that some of the people in each room will end up with nominations from the first round. There are strict rules in place to address any conflict of interest.\"\u003c/p>\n\u003cp>(Up until about a decade ago, I was a Grammy voter, and also served on the \"craft\" committee for the Best Album Notes field, one of a small group of Grammy categories outside the \"nomination review\" process and not voted on by the general membership. In addition, my husband, Joshua Sherman, was also a Grammy voter, and served on Academy committees; he was also part of teams that created several Grammy-winning recordings, and he produced several other Grammy-nominated albums. In my own experience, it is certainly true that in certain Grammy categories, especially in smaller genres or for fields involving particular professional expertise, there is a limited universe of accredited Grammy voters willing to volunteer their time to serve on award committees.)\u003c/p>\n\u003cp>Mason, a Grammy-nominated songwriter, record producer and music executive, just became the chair of the Recording Academy's board of trustees \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\" target=\"_blank\" rel=\"noopener noreferrer\">in June\u003c/a>. After Dugan was put on leave, he became its is acting CEO. In a Thursday interview with NPR, he would not answer any specific questions about the Dugan situation or the conflicting narratives, saying that the behind-the-scenes struggle detracted from the awards ceremony.\u003c/p>\n\u003cp>\"This is our biggest season for me,\" he said, \"and this night is everything to our organization. What we are doing is really focusing on the show and the musicians, and trying to make sure that the spotlight doesn't get taken away from that.\"\u003c/p>\n\u003cp>When asked if he took Dugan's allegations — including sexual misconduct, significant financial improprieties, and vote rigging — as grave matters, Mason said, \"Everything is taken seriously. Anything that somebody says, whether it's a guy at the coffee shop that I run into and says, 'You know, the Academy should do this...' I take all that stuff seriously.\"\u003c/p>\n\u003cp>In speaking to NPR, Mason also emphasized that the Academy has begun two separate investigations into the allegations by Little and Dugan; Mason said the investigations would be independent and transparent. But he declined to give any timeline for that work, and said repeatedly that he did not know what firm or firms were leading those investigations, adding that they were \"people that we had no association with and no connection to.\"\u003c/p>\n\u003cp>According to Dugan's EEOC complaint, however, the investigators were selected by the law firm Proskauer Rose — a firm that charged the Academy over \u003ca href=\"https://www.grammy.com/sites/com/files/2017_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$900,000\u003c/a> in 2017 and over \u003ca href=\"https://www.grammy.com/sites/com/files/2016_naras_form_990_public_inspection.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">$870,000\u003c/a> in 2016, the most recent years for which financial information is available. (A partner at Proskauer Rose, \u003ca href=\"https://www.proskauer.com/professionals/charles-ortner\" target=\"_blank\" rel=\"noopener noreferrer\">Charles Ortner\u003c/a>, serves as national legal counsel to the Academy, and is one of the most powerful lawyers in the entertainment industry; his client list has included Universal Music Group, Sony Music Entertainment, U2 and Madonna.)\u003c/p>\n\u003cp>On Thursday night, the Academy's Task Force on Diversity and Inclusion, (which is chaired by Tina Tchen, the president and CEO of Time's Up), issued its own statement. It reiterated its December recommendations, which Dugan had promised to implement almost in entirety.\u003c/p>\n\u003cp>Writing of its collective \"shock and dismay,\" the 18-member volunteer group urged the Grammy organization to implement several concrete steps in particular, including hiring a dedicated diversity executive \"to lead the deeper changes that are obviously needed.\" The statement continued, in part: \"We are deeply disappointed at the level of commitment by some of the Academy's leadership in effecting the kind of real and constructive change presented in our report. We are confident that they can do better.\"\u003c/p>\n\u003cp>Mason told NPR on Thursday that he was still very committed to diversity improvements at the Academy, noting that they had been part of his own campaign for chair. \"The plan is definitely to continue to push those through and make sure they all happen,\" he said.\u003c/p>\n\u003cp>But least one more member of the task force has spoken out even more forcefully as an individual. Ty Stiklorius, a prominent artist manager whose client roster includes singer John Legend and crossover violinist Lindsey Stirling, posted on Twitter Thursday: \"I won't stay quiet on this. As an Academy Inclusivity Task Force member I saw the inner workings & lack of transparency. The board voted down our recommendation of Ranked Choice Voting. They have not implemented our recommendations but used us \u003ca href=\"https://twitter.com/tystiklorius/status/1220431046258364419?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">as a pawn\u003c/a>.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>As of now, however, no artists slated to perform at the Grammys telecast Sunday night have pulled out. Billboard magazine's executive editor West Coast and Nashville, Melinda Newman, has a theory.\u003c/p>\n\u003cp>\"I honestly think this is so complex,\" she says. \"Once you've heard one thing and you think you might have enough information to make your mind up, something else drops and you're like, 'Wow, hang on a second.' I think we haven't seen the reaction yet because people are shocked.\"\u003c/p>\n\u003cp>As Sunday night approaches, Deborah Dugan said that her short tenure at the Recording Academy illustrates three things.\u003c/p>\n\u003cp>\"This has hit me about women CEOs and corporate America,\" she said. \"This has hit me on how hard it is for women in the music industry. And it's hit me, and I can't believe it, that three years after the #MeToo movement... we still have this system of character assassination — dig up dirt on this woman and trying to trash her in the press. I'm deeply saddened and profoundly upset that I was slapped with all three of those issues.\"\u003c/p>\n\u003cp>That is, all of the issues she was hired to address.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s at a time like Lunar New Year, or Tết, that you realize what a privilege it is to live in the San Francisco Bay Area, where a wide variety of cultural celebrations are available for all to partake in, no matter your level of familiarity or expertise.\u003c/p>\n\u003cp>Take San Jose, where the size of the Vietnamese-American community supports a host of restaurants, bakeries and grocery stores serving Vietnamese specialties that are both traditional and next-gen.\u003c/p>\n\u003cp>Love \u003ca href=\"https://www.kqed.org/bayareabites/106934/bay-area-bites-guide-to-5-favorite-dim-sum-restaurants-south-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">dumplings\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/93275/40-years-of-vietnamese-food-in-california-a-conversation-with-andrew-lam\" target=\"_blank\" rel=\"noopener noreferrer\">Noodles\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/79934/food-spirituality-a-visit-to-charles-phans-home-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">Rice cakes\u003c/a>? This is your time.\u003c/p>\n\u003cp>This is how I found myself in San Jose’s Little Saigon at \u003ca href=\"https://www.facebook.com/pages/category/Bakery/Dzuis-Cakes-Desserts-771574152953969/\" target=\"_blank\" rel=\"noopener noreferrer\">Dzui’s Cakes and Desserts\u003c/a>, which sells sweet and savory pastries to gobble up with tea on site.\u003c/p>\n\u003cp>“This is where you come to get all the goodies,” said Trami Cron, executive artistic director of \u003ca href=\"https://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, an organization supporting Southeast Asian artists with exhibits, classes and events in San Jose.\u003c/p>\n\u003cp>Cron agreed to meet me at the dessert shop to talk about Vietnamese goodies. She’s proud to be a rat, this year’s Chinese zodiac animal.\u003c/p>\n\u003cp>“It’s a good year for me,” Cron said. “I’m just saying.”\u003c/p>\n\u003cfigure id=\"attachment_11797950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797950 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg\" alt=\"Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cron is aware many Americans turn up their noses at the very thought of a rat. Except for those kept as pets, the rat has a bad rap.\u003c/p>\n\u003cp>“It’s dirty, a sewer animal,” she said. “It eats yucky things.”\u003c/p>\n\u003cp>But in Vietnamese culture, and really, most East Asian and Southeast Asian cultures, “as soon as you say you’re a rat, everyone’s like ‘Oh! She’s intelligent, clever.’ Also, ‘better watch out for her,'” Cron said.\u003c/p>\n\u003cp>That’s because rats are thought to be social, charming, and just a little bit devious in their pursuit of material success.\u003c/p>\n\u003cp>Cron recently held a workshop to help young Vietnamese-Americans learn how to cook one of the most traditional treats of the season, a sticky rice cake wrapped in banana leaves called bánh chưng. Inside the glutinous rice, you’ll find mung bean and pork belly.\u003c/p>\n\u003cp>This goodie is eaten all year round. But it’s right about now families gather to make it at home. It’s a dish that usually involves a small army getting together in the kitchen to prepare and combine the ingredients, then hover over the pots in which piles of banh chưng are boiled. Small, hungry children typically watch with great interest, but the first banh chưng go to the family’s altar honoring ancestors.\u003c/p>\n\u003cp>Cron recommends using a pressure cooker to speed up the process (and make it more appealing to younger generations who don’t want to spend so much time in the kitchen).\u003c/p>\n\u003cp>“40 minutes, you’re done,” Cron said. “Cause it’s very intimidating.”\u003c/p>\n\u003cfigure id=\"attachment_11797951\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797951\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg\" alt=\"Taro pastries at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taro pastries at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a bakery like Dzui’s, you’ll want to sample everything in the glass case. Take bánh pia. It’s about the size of a hockey puck, with a dense but flaky crust on the outside, finished with an egg wash glaze and a red stamp on top.\u003c/p>\n\u003cp>Given that it’s the Year of the Rat, many bakers will opt for a playful stamp of the animal on top. Pick one made fresh and filled with taro, mung bean or pork and you’ll go in for seconds. I did, at least.\u003c/p>\n\u003cp>If the traditional mung bean filling is not your thing, Dzui’s is where you can find other fillings to fit the bill, like durian and salted egg.\u003c/p>\n\u003cp>It also goes without saying that fresh is always tastier than pre-packaged.\u003c/p>\n\u003cp>“Next generation Vietnamese bakeries are combining a more modern look and feel — and the traditional homage to French sensibilities about sugar and flour,” says my KQED colleague Luke Lam, who independently recommended this bakery.\u003c/p>\n\u003cp>So what are you waiting for? Bring your appetite and a sense of adventure to Little Saigon this weekend.\u003c/p>\n\u003cp>Chúc Mừng Năm Mới! (Happy Lunar New Year!)\u003c/p>\n\u003cfigure id=\"attachment_11797966\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797966\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg\" alt=\"Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Get yourself to a Vietnamese bakery this time of year to enjoy seasonal specialities made to celebrate the new year.",
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"title": "Tasty Treats Await in the Year of the Rat | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s at a time like Lunar New Year, or Tết, that you realize what a privilege it is to live in the San Francisco Bay Area, where a wide variety of cultural celebrations are available for all to partake in, no matter your level of familiarity or expertise.\u003c/p>\n\u003cp>Take San Jose, where the size of the Vietnamese-American community supports a host of restaurants, bakeries and grocery stores serving Vietnamese specialties that are both traditional and next-gen.\u003c/p>\n\u003cp>Love \u003ca href=\"https://www.kqed.org/bayareabites/106934/bay-area-bites-guide-to-5-favorite-dim-sum-restaurants-south-of-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">dumplings\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/93275/40-years-of-vietnamese-food-in-california-a-conversation-with-andrew-lam\" target=\"_blank\" rel=\"noopener noreferrer\">Noodles\u003c/a>? \u003ca href=\"https://www.kqed.org/bayareabites/79934/food-spirituality-a-visit-to-charles-phans-home-kitchen\" target=\"_blank\" rel=\"noopener noreferrer\">Rice cakes\u003c/a>? This is your time.\u003c/p>\n\u003cp>This is how I found myself in San Jose’s Little Saigon at \u003ca href=\"https://www.facebook.com/pages/category/Bakery/Dzuis-Cakes-Desserts-771574152953969/\" target=\"_blank\" rel=\"noopener noreferrer\">Dzui’s Cakes and Desserts\u003c/a>, which sells sweet and savory pastries to gobble up with tea on site.\u003c/p>\n\u003cp>“This is where you come to get all the goodies,” said Trami Cron, executive artistic director of \u003ca href=\"https://www.chopsticksalley.com\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, an organization supporting Southeast Asian artists with exhibits, classes and events in San Jose.\u003c/p>\n\u003cp>Cron agreed to meet me at the dessert shop to talk about Vietnamese goodies. She’s proud to be a rat, this year’s Chinese zodiac animal.\u003c/p>\n\u003cp>“It’s a good year for me,” Cron said. “I’m just saying.”\u003c/p>\n\u003cfigure id=\"attachment_11797950\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11797950 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg\" alt=\"Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40903_Photo-Jan-23-5-47-11-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bánh pía resemble the Cantonese mooncake, but these feature flaky pastry and the fillings are different, too. The ones in this case at Dzui’s Cakes and Desserts in San Jose features fillings like mung bean paste, durian and pork. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cron is aware many Americans turn up their noses at the very thought of a rat. Except for those kept as pets, the rat has a bad rap.\u003c/p>\n\u003cp>“It’s dirty, a sewer animal,” she said. “It eats yucky things.”\u003c/p>\n\u003cp>But in Vietnamese culture, and really, most East Asian and Southeast Asian cultures, “as soon as you say you’re a rat, everyone’s like ‘Oh! She’s intelligent, clever.’ Also, ‘better watch out for her,'” Cron said.\u003c/p>\n\u003cp>That’s because rats are thought to be social, charming, and just a little bit devious in their pursuit of material success.\u003c/p>\n\u003cp>Cron recently held a workshop to help young Vietnamese-Americans learn how to cook one of the most traditional treats of the season, a sticky rice cake wrapped in banana leaves called bánh chưng. Inside the glutinous rice, you’ll find mung bean and pork belly.\u003c/p>\n\u003cp>This goodie is eaten all year round. But it’s right about now families gather to make it at home. It’s a dish that usually involves a small army getting together in the kitchen to prepare and combine the ingredients, then hover over the pots in which piles of banh chưng are boiled. Small, hungry children typically watch with great interest, but the first banh chưng go to the family’s altar honoring ancestors.\u003c/p>\n\u003cp>Cron recommends using a pressure cooker to speed up the process (and make it more appealing to younger generations who don’t want to spend so much time in the kitchen).\u003c/p>\n\u003cp>“40 minutes, you’re done,” Cron said. “Cause it’s very intimidating.”\u003c/p>\n\u003cfigure id=\"attachment_11797951\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797951\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg\" alt=\"Taro pastries at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40901_Photo-Jan-23-5-47-30-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taro pastries at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But at a bakery like Dzui’s, you’ll want to sample everything in the glass case. Take bánh pia. It’s about the size of a hockey puck, with a dense but flaky crust on the outside, finished with an egg wash glaze and a red stamp on top.\u003c/p>\n\u003cp>Given that it’s the Year of the Rat, many bakers will opt for a playful stamp of the animal on top. Pick one made fresh and filled with taro, mung bean or pork and you’ll go in for seconds. I did, at least.\u003c/p>\n\u003cp>If the traditional mung bean filling is not your thing, Dzui’s is where you can find other fillings to fit the bill, like durian and salted egg.\u003c/p>\n\u003cp>It also goes without saying that fresh is always tastier than pre-packaged.\u003c/p>\n\u003cp>“Next generation Vietnamese bakeries are combining a more modern look and feel — and the traditional homage to French sensibilities about sugar and flour,” says my KQED colleague Luke Lam, who independently recommended this bakery.\u003c/p>\n\u003cp>So what are you waiting for? Bring your appetite and a sense of adventure to Little Saigon this weekend.\u003c/p>\n\u003cp>Chúc Mừng Năm Mới! (Happy Lunar New Year!)\u003c/p>\n\u003cfigure id=\"attachment_11797966\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11797966\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg\" alt=\"Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose.\" width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40902_Photo-Jan-23-5-47-16-PM-qut-536x402.jpg 536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Salted egg yolk buns at Dzui’s Cakes and Desserts in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "john-waters-on-clay-theatre-closure-a-real-era-for-me-is-shutting-down-in-sf",
"title": "John Waters on Clay Theatre Closure: 'A Real Era for Me Is Shutting Down in SF'",
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"headTitle": "John Waters on Clay Theatre Closure: ‘A Real Era for Me Is Shutting Down in SF’ | KQED",
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"content": "\u003cp>On Sunday, San Francisco’s Clay Theatre will close its doors to moviegoers after more than a century in business. \u003c/p>\n\u003cp>The impending closure of this single-screen independent movie theater in Pacific Heights, known for its arthouse screenings and midnight movies, has been a cause for sorrow for many in the Bay Area — including filmmaker John Waters.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"John Waters\"]‘It was the coolest theater. It was the hippest art theater. I was really proud to show there.’[/pullquote]\u003c/p>\n\u003cp>One of the Clay’s claims to San Francisco cinema history was a midnight premiere of Waters’ “Pink Flamingos” in 1972.\u003c/p>\n\u003cp>It’s a milestone Waters remembers with pride — “the first commercial theater I ever played in at San Francisco that was part of an ‘above ground’ scene” — even if the popular legend that this was the city’s first-ever midnight movie screening isn’t quite accurate for him. \u003c/p>\n\u003cp>His earlier movies “Mondo Trasho” (1969) and “Multiple Maniacs” (1970) played at the now long-closed Palace Theatre at Powell and Columbus streets “all the time,” Waters recalled.\u003c/p>\n\u003cp>Waters, who has lived part time in San Francisco for years, spoke to KQED about his memories of the Clay, the joys and vices of midnight movies, and the San Francisco theaters he hopes stay in business.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>On What the Clay’s Closure Means to Him\u003c/h3>\n\u003cp>“It’s very sad to me because San Francisco is one of the first places outside of Baltimore where my films caught on … ‘Pink Flamingos’ started there, became quite successful there, and was really a help in my career. \u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real \u003cem>art\u003c/em> movie, and being difficult, and causing trouble, and it was just a good club to belong to … it really mattered very much of climbing up from the underground to play there.\u003c/p>\n\u003cp>“I also lived very near the Clay Theatre during those years on California Street near Pierce. So it was my neighborhood theater, too. And they always had good cutting-edge movies there. I would say it was the coolest theater. It was the hippest art theater. So I was really proud to show there.”\u003c/p>\n\u003ch3>On the Movies He Watched at the Clay\u003c/h3>\n\u003cp>“I don’t remember, because this was in the ’70s. You know, as they say, if you remember the ’70s, you weren’t having fun … but I went there all the time.\u003c/p>\n\u003cp>“It played first-run art movies. It usually always played the movie I wanted to see first in San Francisco. So it was really lucky for me that I lived so near it.\u003c/p>\n\u003cp>“A real era for me is shutting down in San Francisco … all these theaters that I went to are no longer there.”\u003c/p>\n\u003cfigure id=\"attachment_11797913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg\" alt=\"The historic Clay Theatre, in San Francisco's Pacific Heights neighborhood, is slated to screen its final film on Sunday.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11797913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The historic Clay Theatre, in San Francisco’s Pacific Heights neighborhood, is slated to screen its final film on Sunday. \u003ccite>(Jeremy Brooks/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Decline of Independent Movie Houses\u003c/h3>\n\u003cp>“It’s not just San Francisco. It’s everywhere that independent film is having a tough time because of television, and because young people maybe don’t like art movies quite as much as our generation did.\u003c/p>\n\u003cp>“I think there’s always going to be a market for offbeat movies. I don’t care if you call them underground, midnight, independent — they’re all the same thing. They’re movies that regular people don’t like and we always need a showcase for them. And I think we’ll always find one.\u003c/p>\n\u003ch3>On Indie Theater Culture and Midnight Movies\u003c/h3>\n\u003cp>“This was before the Internet, this was before DVD, when that was the only way you could see a movie. You couldn’t rewind: You had to come and see it again the next weekend. So it was like church. And I mean, everybody smoked pot at this midnight movie, are you kidding? That was a huge part of it.\u003c/p>\n\u003cp>“And as soon as the VCR came out, the midnight movie kind of ended. People could smoke pot and have sex in a theater at home. I’m not saying people had sex in the theater at the Clay … but I bet they did.\u003c/p>\n\u003cp>“I think the last real movie that worked at midnight was ‘The Human Centipede’ — and yes, I did see that. But I don’t know that the midnight movie now is a phenomenon. What was then a midnight movie could easily play at a regular theatrical run today.”\u003c/p>\n\u003ch3>On Which Other Indie Theaters Need Support in SF\u003c/h3>\n\u003cp>“All of ’em! The \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema\">Opera Plaza\u003c/a>, that’s next. And the \u003ca href=\"https://www.roxie.com/\">Roxie\u003c/a>, of course, I’ve gone to for years — and the\u003ca href=\"https://www.castrotheatre.com/\"> Castro\u003c/a> [Theatre], are you kidding? I mean, my movies all played there.\u003c/p>\n\u003cp>“San Francisco’s always been a great movie town and it will continue to be so forever, I think.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "John Waters on Clay Theatre Closure: 'A Real Era for Me Is Shutting Down in SF' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Sunday, San Francisco’s Clay Theatre will close its doors to moviegoers after more than a century in business. \u003c/p>\n\u003cp>The impending closure of this single-screen independent movie theater in Pacific Heights, known for its arthouse screenings and midnight movies, has been a cause for sorrow for many in the Bay Area — including filmmaker John Waters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the Clay’s claims to San Francisco cinema history was a midnight premiere of Waters’ “Pink Flamingos” in 1972.\u003c/p>\n\u003cp>It’s a milestone Waters remembers with pride — “the first commercial theater I ever played in at San Francisco that was part of an ‘above ground’ scene” — even if the popular legend that this was the city’s first-ever midnight movie screening isn’t quite accurate for him. \u003c/p>\n\u003cp>His earlier movies “Mondo Trasho” (1969) and “Multiple Maniacs” (1970) played at the now long-closed Palace Theatre at Powell and Columbus streets “all the time,” Waters recalled.\u003c/p>\n\u003cp>Waters, who has lived part time in San Francisco for years, spoke to KQED about his memories of the Clay, the joys and vices of midnight movies, and the San Francisco theaters he hopes stay in business.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>On What the Clay’s Closure Means to Him\u003c/h3>\n\u003cp>“It’s very sad to me because San Francisco is one of the first places outside of Baltimore where my films caught on … ‘Pink Flamingos’ started there, became quite successful there, and was really a help in my career. \u003c/p>\n\u003cp>“If you played at the Clay it gave your movie kind of a little honor of being a real \u003cem>art\u003c/em> movie, and being difficult, and causing trouble, and it was just a good club to belong to … it really mattered very much of climbing up from the underground to play there.\u003c/p>\n\u003cp>“I also lived very near the Clay Theatre during those years on California Street near Pierce. So it was my neighborhood theater, too. And they always had good cutting-edge movies there. I would say it was the coolest theater. It was the hippest art theater. So I was really proud to show there.”\u003c/p>\n\u003ch3>On the Movies He Watched at the Clay\u003c/h3>\n\u003cp>“I don’t remember, because this was in the ’70s. You know, as they say, if you remember the ’70s, you weren’t having fun … but I went there all the time.\u003c/p>\n\u003cp>“It played first-run art movies. It usually always played the movie I wanted to see first in San Francisco. So it was really lucky for me that I lived so near it.\u003c/p>\n\u003cp>“A real era for me is shutting down in San Francisco … all these theaters that I went to are no longer there.”\u003c/p>\n\u003cfigure id=\"attachment_11797913\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg\" alt=\"The historic Clay Theatre, in San Francisco's Pacific Heights neighborhood, is slated to screen its final film on Sunday.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11797913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/Clay-Theater-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The historic Clay Theatre, in San Francisco’s Pacific Heights neighborhood, is slated to screen its final film on Sunday. \u003ccite>(Jeremy Brooks/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>On the Decline of Independent Movie Houses\u003c/h3>\n\u003cp>“It’s not just San Francisco. It’s everywhere that independent film is having a tough time because of television, and because young people maybe don’t like art movies quite as much as our generation did.\u003c/p>\n\u003cp>“I think there’s always going to be a market for offbeat movies. I don’t care if you call them underground, midnight, independent — they’re all the same thing. They’re movies that regular people don’t like and we always need a showcase for them. And I think we’ll always find one.\u003c/p>\n\u003ch3>On Indie Theater Culture and Midnight Movies\u003c/h3>\n\u003cp>“This was before the Internet, this was before DVD, when that was the only way you could see a movie. You couldn’t rewind: You had to come and see it again the next weekend. So it was like church. And I mean, everybody smoked pot at this midnight movie, are you kidding? That was a huge part of it.\u003c/p>\n\u003cp>“And as soon as the VCR came out, the midnight movie kind of ended. People could smoke pot and have sex in a theater at home. I’m not saying people had sex in the theater at the Clay … but I bet they did.\u003c/p>\n\u003cp>“I think the last real movie that worked at midnight was ‘The Human Centipede’ — and yes, I did see that. But I don’t know that the midnight movie now is a phenomenon. What was then a midnight movie could easily play at a regular theatrical run today.”\u003c/p>\n\u003ch3>On Which Other Indie Theaters Need Support in SF\u003c/h3>\n\u003cp>“All of ’em! The \u003ca href=\"https://www.landmarktheatres.com/san-francisco/opera-plaza-cinema\">Opera Plaza\u003c/a>, that’s next. And the \u003ca href=\"https://www.roxie.com/\">Roxie\u003c/a>, of course, I’ve gone to for years — and the\u003ca href=\"https://www.castrotheatre.com/\"> Castro\u003c/a> [Theatre], are you kidding? I mean, my movies all played there.\u003c/p>\n\u003cp>“San Francisco’s always been a great movie town and it will continue to be so forever, I think.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "San Francisco's Search for a Maya Angelou Monument is Back at Square One",
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"headTitle": "San Francisco’s Search for a Maya Angelou Monument is Back at Square One | KQED",
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"content": "\u003cp>Shortly after the inauguration of Donald Trump, Margaux Kelly was looking for an antidote to the anger she felt about the president’s attitudes towards women.\u003c/p>\n\u003cp>[aside postID='arts_13872482,news_11794018,arts_13864632' label='Public Art News']\u003c/p>\n\u003cp>“My colleague and I came up with the idea of adding art pieces to the civic art collection,” said Kelly, who at the time was a young aide to then-San Francisco city supervisor Mark Farrell. “We wanted to help add additional female representation in the public realm.”\u003c/p>\n\u003cp>Their effort is taking off again as the San Francisco Arts Commission (SFAC) reboots a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. On Friday, Jan. 24, the SFAC \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Maya-Angelou-RFQ_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">issued a Request for Qualifications\u003c/a> inviting artists to submit proposals for a sculpture honoring Dr. Angelou. Specifically, a “3-dimensional statue depicting Dr. Angelou.”\u003c/p>\n\u003cp>The move comes three months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>Kelly said it was former U.S. Treasurer Rosie Rios’ efforts to put women on U.S. currency that originally inspired her to launch the initiative.\u003c/p>\n\u003cp>“Every image that I came across of a woman was an allegorical woman,” Rios said in a \u003ca href=\"https://youtu.be/FpndNAYmvhs\" target=\"_blank\" rel=\"noopener noreferrer\">2017 TED talk\u003c/a> on the topic. “It wasn’t a real woman. Kind of Lady Liberty. Or women in togas. Or sometimes no togas. But every image that I came across of a man was a real man.”\u003c/p>\n\u003cfigure id=\"attachment_13870796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Margaux Kelly. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly and her colleague learned there are nearly 90 statues of nonfictional men scattered across San Francisco’s public spaces, compared to just three of women.\u003c/p>\n\u003cp>So they drafted legislation to change that.\u003c/p>\n\u003cp>The plan was to increase the number of women honored with things like monuments and street names by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote. (The ordinance no longer specifies 30 percent representation on city property by 2020; that number is now an ongoing goal.)\u003c/p>\n\u003cp>The first woman they wanted to honor with a statue was writer and activist Maya Angelou.\u003c/p>\n\u003cp>Kelly says Angelou was the perfect fit for their ambitious first project. “She lived in San Francisco and she was the first African-American streetcar conductor here,” she explained.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also fitting that the statue was planned for outside the main branch of the San Francisco Public Library, which Angelou loved to frequent.\u003c/p>\n\u003cp>The city’s arts commission sent out a call to artists late last year. By early August, a selection panel had whittled more than 100 proposals down to just three. The front runner was a nine-foot-tall bronze book with Angelou’s face etched on the cover, designed by Berkeley-based artist Lava Thomas.\u003c/p>\n\u003cp>But in a rare move, the city turned that proposal down.\u003c/p>\n\u003cp>Kelly says that’s because it wasn’t a statue in the traditional sense.\u003c/p>\n\u003cp>“We wanted a piece of art, but we also wanted to make a political statement,” said Kelly. “The statue portion of it was important to us. And the understanding was that the end art piece would be a female figure that you could recognize was a female figure from afar.”\u003c/p>\n\u003cp>In fact, the word “statue” was written into the original legislation. This was changed after the city’s arts commissioners said the language was too restrictive.\u003c/p>\n\u003cfigure id=\"attachment_13870771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lava Thomas speaks at the Oct. 16 arts commission meeting about her disappointment in the process. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to provide artists with an opportunity to portray Maya Angelou and other women in the future in more contemporary and creative ways,” said arts commissioner Dorka Keehn of the language change.\u003c/p>\n\u003cp>But at a public meeting in mid-October, Supervisor Catherine Stefani, who worked with Kelly and her colleagues on pushing the enabling legislation through, told a room full of grim-faced arts professionals that nothing short of an actual statue of Maya Angelou would do.\u003c/p>\n\u003cp>“As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated in this city,” Stefani said.\u003c/p>\n\u003cp>Many of the people present at the meeting that day, including artist Lava Thomas, were angered by the decision. They questioned the motives behind it (someone called them “shady”) and said women should be honored differently.\u003c/p>\n\u003cp>“I can’t believe that a conservative statue in the manner of European figurative traditional monuments, that Confederate and colonial monuments are based on, that we are here discussing this in this city, San Francisco, that’s known for being progressive in every way,” Thomas said. “Come on, people!”\u003c/p>\n\u003cp>https://twitter.com/kittykendra1972/status/1192897617501442048\u003c/p>\n\u003cp>Then there are those who don’t think it’s worth building monuments at all. When KQED asked people on social media what they thought, many said they would rather see the city work to get women equal pay.\u003c/p>\n\u003cp>With the arts commission issuing a fresh callout to artists for the Maya Angelou monument, on what is SFAC head Tom DeCaigny’s last day on the job after \u003ca href=\"https://www.kqed.org/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs\" target=\"_blank\" rel=\"noopener noreferrer\">stepping down\u003c/a>, the project schedule starts over. The full arts commission is scheduled to approve panel recommendations by July 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The SF Arts Commission relaunches its selection process three months after city officials withdrew the opportunity from local artist Lava Thomas.",
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"title": "San Francisco's Search for a Maya Angelou Monument is Back at Square One | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shortly after the inauguration of Donald Trump, Margaux Kelly was looking for an antidote to the anger she felt about the president’s attitudes towards women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My colleague and I came up with the idea of adding art pieces to the civic art collection,” said Kelly, who at the time was a young aide to then-San Francisco city supervisor Mark Farrell. “We wanted to help add additional female representation in the public realm.”\u003c/p>\n\u003cp>Their effort is taking off again as the San Francisco Arts Commission (SFAC) reboots a plan to erect a statue honoring Maya Angelou in front of the main branch of the public library. On Friday, Jan. 24, the SFAC \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Maya-Angelou-RFQ_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">issued a Request for Qualifications\u003c/a> inviting artists to submit proposals for a sculpture honoring Dr. Angelou. Specifically, a “3-dimensional statue depicting Dr. Angelou.”\u003c/p>\n\u003cp>The move comes three months after city officials ordered the commission to start the process over again from scratch for failing to deliver an artwork that met their expectations, upsetting many in the local arts community in the process.\u003c/p>\n\u003cp>Kelly said it was former U.S. Treasurer Rosie Rios’ efforts to put women on U.S. currency that originally inspired her to launch the initiative.\u003c/p>\n\u003cp>“Every image that I came across of a woman was an allegorical woman,” Rios said in a \u003ca href=\"https://youtu.be/FpndNAYmvhs\" target=\"_blank\" rel=\"noopener noreferrer\">2017 TED talk\u003c/a> on the topic. “It wasn’t a real woman. Kind of Lady Liberty. Or women in togas. Or sometimes no togas. But every image that I came across of a man was a real man.”\u003c/p>\n\u003cfigure id=\"attachment_13870796\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870796\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Margaux-Kelly-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Margaux Kelly. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelly and her colleague learned there are nearly 90 statues of nonfictional men scattered across San Francisco’s public spaces, compared to just three of women.\u003c/p>\n\u003cp>So they drafted legislation to change that.\u003c/p>\n\u003cp>The plan was to increase the number of women honored with things like monuments and street names by 30 percent before the end of 2020—the 100th anniversary of the passage of the 19th Amendment, guaranteeing and protecting women’s constitutional right to vote. (The ordinance no longer specifies 30 percent representation on city property by 2020; that number is now an ongoing goal.)\u003c/p>\n\u003cp>The first woman they wanted to honor with a statue was writer and activist Maya Angelou.\u003c/p>\n\u003cp>Kelly says Angelou was the perfect fit for their ambitious first project. “She lived in San Francisco and she was the first African-American streetcar conductor here,” she explained.\u003c/p>\n\u003cfigure id=\"attachment_13864655\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864655\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg\" alt=\"The verso of Lava Thomas' 'Portrait of a Phenomenal Woman.'\" width=\"1200\" height=\"970\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-800x647.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-768x621.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/LavaThomas_MayaAngelouSculpture_Back_1200-1020x825.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Lava Thomas’ proposed monument to Maya Angelou, ‘Portrait of a Phenomenal Woman.’ \u003ccite>(Courtesy of Eren Hebert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was also fitting that the statue was planned for outside the main branch of the San Francisco Public Library, which Angelou loved to frequent.\u003c/p>\n\u003cp>The city’s arts commission sent out a call to artists late last year. By early August, a selection panel had whittled more than 100 proposals down to just three. The front runner was a nine-foot-tall bronze book with Angelou’s face etched on the cover, designed by Berkeley-based artist Lava Thomas.\u003c/p>\n\u003cp>But in a rare move, the city turned that proposal down.\u003c/p>\n\u003cp>Kelly says that’s because it wasn’t a statue in the traditional sense.\u003c/p>\n\u003cp>“We wanted a piece of art, but we also wanted to make a political statement,” said Kelly. “The statue portion of it was important to us. And the understanding was that the end art piece would be a female figure that you could recognize was a female figure from afar.”\u003c/p>\n\u003cp>In fact, the word “statue” was written into the original legislation. This was changed after the city’s arts commissioners said the language was too restrictive.\u003c/p>\n\u003cfigure id=\"attachment_13870771\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Lava-Thomas-at-Oct-16-arts-commission-meeting-by-Chloe-Veltman_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Lava Thomas speaks at the Oct. 16 arts commission meeting about her disappointment in the process. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We wanted to provide artists with an opportunity to portray Maya Angelou and other women in the future in more contemporary and creative ways,” said arts commissioner Dorka Keehn of the language change.\u003c/p>\n\u003cp>But at a public meeting in mid-October, Supervisor Catherine Stefani, who worked with Kelly and her colleagues on pushing the enabling legislation through, told a room full of grim-faced arts professionals that nothing short of an actual statue of Maya Angelou would do.\u003c/p>\n\u003cp>“As I carry the legislation across the finish line to elevate women in monuments, I wanted to do it in the same way that men have been historically elevated in this city,” Stefani said.\u003c/p>\n\u003cp>Many of the people present at the meeting that day, including artist Lava Thomas, were angered by the decision. They questioned the motives behind it (someone called them “shady”) and said women should be honored differently.\u003c/p>\n\u003cp>“I can’t believe that a conservative statue in the manner of European figurative traditional monuments, that Confederate and colonial monuments are based on, that we are here discussing this in this city, San Francisco, that’s known for being progressive in every way,” Thomas said. “Come on, people!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then there are those who don’t think it’s worth building monuments at all. When KQED asked people on social media what they thought, many said they would rather see the city work to get women equal pay.\u003c/p>\n\u003cp>With the arts commission issuing a fresh callout to artists for the Maya Angelou monument, on what is SFAC head Tom DeCaigny’s last day on the job after \u003ca href=\"https://www.kqed.org/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs\" target=\"_blank\" rel=\"noopener noreferrer\">stepping down\u003c/a>, the project schedule starts over. The full arts commission is scheduled to approve panel recommendations by July 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Dreaming the Golden State' With the California Report Magazine (Part One)",
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"headTitle": "‘Dreaming the Golden State’ With the California Report Magazine (Part One) | KQED",
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"content": "\u003cp>California has long lured dreamers. People looking to reinvent themselves. To find a better future for their children. To have a home with a palm tree in the front yard.\u003c/p>\n\u003cp>But we know that dream is also increasingly out of reach for many people. And some are beginning to question whether the California dream is worth it, or whether it’s even still alive.\u003c/p>\n\u003cp>To that end, KQED’s The California Report Magazine in November hosted “Dreaming the Golden State,” a night of live storytelling about California dreams found … and lost. The event, at San Francisco’s Brava Theater, featured some of KQED’s own radio reporters, transferring their stories from the airwaves to the stage, along with five listeners who shared their own California dreams.\u003c/p>\n\u003cp>Here is part one of highlights from the event.\u003c/p>\n\u003ch2>How My Parents Found a Place to Love in LA\u003c/h2>\n\u003cfigure id=\"attachment_11796333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796333 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Report Magazine’s host Sasha Khokha kicked off the evening with her own family’s California dream story. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To kickoff the evening, TCR Magazine host Sasha Khokha shared her family’s California dream by reciting a \u003ca href=\"https://www.kqed.org/news/11670400/letter-to-my-california-dreamer-how-my-parents-found-a-place-to-love-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her parents. A rebellious Irish Catholic girl and a skinny Indian engineer, the two met and fell in love at a time when interracial marriage was still illegal in some parts of the country.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Searching for New Beginnings on ‘Gold Mountain’\u003c/h2>\n\u003cfigure id=\"attachment_11796178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796178 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Eng, of Oakland, performed her ‘Letter to my California Dreamer’ to her great great great grandparents. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In our ‘\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>‘ series, we asked listeners to send us compositions written to the first people in their families who arrived in California. One of the first submissions we received was from Tiffany Eng of Oakland. On stage, she recited the \u003ca href=\"https://www.kqed.org/news/11684010/letter-to-my-california-dreamer-searching-for-new-beginnings-on-gold-mountain\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her great-great-great-grandparents, who settled in Oakland’s Chinatown in 1906. Six generations later, Eng said, her family’s roots in Oakland have grown deep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘Pet Sounds’ at 50: What Ever Happened to Those Goats?\u003c/h2>\n\u003cfigure id=\"attachment_11796216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796216 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based reporter Peter Gilstrap had a musical take on the California dream with a story about The Beach Boys’ album, ‘Pet Sounds.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1960s, The Beach Boys, to many people, perfectly represented California. On every album cover, they sold the idealized version of life on the beach in sunny Southern California. But that changed in 1966, when The Beach Boys released \u003ca href=\"https://open.spotify.com/album/6GphKx2QAPRoVGWE9D7ou8\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Sounds\u003c/a>, with an album cover that featured the very unbeachy image of the band feeding goats. The album was a collection of 13 groundbreaking songs that redefined pop music. In the decades since, critics and fans have scrutinized and analyzed every single aspect of the album, including the mysterious cover. One of our favorite reporters from Los Angeles, Peter Gilstrap, helped unearth the story behind the album.\u003c/p>\n\u003ch2>Letter to My California Dreamer: A Mother’s Brave Journey to Citizenship\u003c/h2>\n\u003cfigure id=\"attachment_11796368\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796368 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listener Javier Cervantes shares his ‘Letter to My California Dreamer’ about his mother, who crossed the Mexico-United States border illegally in search of a better life. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Defying expectations to marry a farmer and have children, Maria Mojarro Cervantes fled Zacatecas in Central Mexico to find a better life in San Francisco. Listener Javier Cervantes of San Jose wrote a \u003ca href=\"https://www.kqed.org/news/11676288/letter-to-my-california-dreamer-a-mothers-brave-journey-to-citizenship\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to Maria, his mother, about her brave journey to becoming a U.S. citizen.\u003c/p>\n\u003ch2>On Teaching for Nearly Five Decades at a West Oakland High School\u003c/h2>\n\u003cfigure id=\"attachment_11796223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796223 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left: KQED education reporter Vanessa Rancaño, Dr. LuPaulette Taylor and Sasha Khokha discuss what keeps Taylor motivated after 50 years on the job. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many, a big part of the California dream has been the promise of a good public K-12 education — and two world-class public university systems. At a time when so many teachers are leaving the profession, KQED education reporter Vanessa Rancaño introduced us to Dr. LuPaulette Taylor, who recently began her 50th year on her feet teaching at McClymonds High School in West Oakland, a school that has long struggled with teacher retention.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Excerpts from a live stage version of The California Report Magazine's night of storytelling, 'Dreaming the Golden State,' which explored California dreams found, and lost. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California has long lured dreamers. People looking to reinvent themselves. To find a better future for their children. To have a home with a palm tree in the front yard.\u003c/p>\n\u003cp>But we know that dream is also increasingly out of reach for many people. And some are beginning to question whether the California dream is worth it, or whether it’s even still alive.\u003c/p>\n\u003cp>To that end, KQED’s The California Report Magazine in November hosted “Dreaming the Golden State,” a night of live storytelling about California dreams found … and lost. The event, at San Francisco’s Brava Theater, featured some of KQED’s own radio reporters, transferring their stories from the airwaves to the stage, along with five listeners who shared their own California dreams.\u003c/p>\n\u003cp>Here is part one of highlights from the event.\u003c/p>\n\u003ch2>How My Parents Found a Place to Love in LA\u003c/h2>\n\u003cfigure id=\"attachment_11796333\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796333 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40743_01wxxNGA-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The California Report Magazine’s host Sasha Khokha kicked off the evening with her own family’s California dream story. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To kickoff the evening, TCR Magazine host Sasha Khokha shared her family’s California dream by reciting a \u003ca href=\"https://www.kqed.org/news/11670400/letter-to-my-california-dreamer-how-my-parents-found-a-place-to-love-in-l-a\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her parents. A rebellious Irish Catholic girl and a skinny Indian engineer, the two met and fell in love at a time when interracial marriage was still illegal in some parts of the country.\u003c/p>\n\u003ch2>Letter to My California Dreamer: Searching for New Beginnings on ‘Gold Mountain’\u003c/h2>\n\u003cfigure id=\"attachment_11796178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796178 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40732_4qx2YgfY-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Eng, of Oakland, performed her ‘Letter to my California Dreamer’ to her great great great grandparents. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In our ‘\u003ca href=\"https://www.kqed.org/news/tag/letters-to-my-california-dreamer\" target=\"_blank\" rel=\"noopener noreferrer\">Letter to My California Dreamer\u003c/a>‘ series, we asked listeners to send us compositions written to the first people in their families who arrived in California. One of the first submissions we received was from Tiffany Eng of Oakland. On stage, she recited the \u003ca href=\"https://www.kqed.org/news/11684010/letter-to-my-california-dreamer-searching-for-new-beginnings-on-gold-mountain\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> she wrote to her great-great-great-grandparents, who settled in Oakland’s Chinatown in 1906. Six generations later, Eng said, her family’s roots in Oakland have grown deep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘Pet Sounds’ at 50: What Ever Happened to Those Goats?\u003c/h2>\n\u003cfigure id=\"attachment_11796216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796216 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40733_ELdxeAbo-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Angeles-based reporter Peter Gilstrap had a musical take on the California dream with a story about The Beach Boys’ album, ‘Pet Sounds.’ \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the early 1960s, The Beach Boys, to many people, perfectly represented California. On every album cover, they sold the idealized version of life on the beach in sunny Southern California. But that changed in 1966, when The Beach Boys released \u003ca href=\"https://open.spotify.com/album/6GphKx2QAPRoVGWE9D7ou8\" target=\"_blank\" rel=\"noopener noreferrer\">Pet Sounds\u003c/a>, with an album cover that featured the very unbeachy image of the band feeding goats. The album was a collection of 13 groundbreaking songs that redefined pop music. In the decades since, critics and fans have scrutinized and analyzed every single aspect of the album, including the mysterious cover. One of our favorite reporters from Los Angeles, Peter Gilstrap, helped unearth the story behind the album.\u003c/p>\n\u003ch2>Letter to My California Dreamer: A Mother’s Brave Journey to Citizenship\u003c/h2>\n\u003cfigure id=\"attachment_11796368\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796368 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40745_g3CEjqpI-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listener Javier Cervantes shares his ‘Letter to My California Dreamer’ about his mother, who crossed the Mexico-United States border illegally in search of a better life. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Defying expectations to marry a farmer and have children, Maria Mojarro Cervantes fled Zacatecas in Central Mexico to find a better life in San Francisco. Listener Javier Cervantes of San Jose wrote a \u003ca href=\"https://www.kqed.org/news/11676288/letter-to-my-california-dreamer-a-mothers-brave-journey-to-citizenship\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> to Maria, his mother, about her brave journey to becoming a U.S. citizen.\u003c/p>\n\u003ch2>On Teaching for Nearly Five Decades at a West Oakland High School\u003c/h2>\n\u003cfigure id=\"attachment_11796223\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11796223 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40734_gJdl3-aQ-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left: KQED education reporter Vanessa Rancaño, Dr. LuPaulette Taylor and Sasha Khokha discuss what keeps Taylor motivated after 50 years on the job. \u003ccite>(Courtesy of Alain McLaughlin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For many, a big part of the California dream has been the promise of a good public K-12 education — and two world-class public university systems. At a time when so many teachers are leaving the profession, KQED education reporter Vanessa Rancaño introduced us to Dr. LuPaulette Taylor, who recently began her 50th year on her feet teaching at McClymonds High School in West Oakland, a school that has long struggled with teacher retention.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a book you might have heard of by now. It’s called \u003cem>American Dirt\u003c/em>, and it’s the much-hyped new novel from author Jeanine Cummins that was released this week.\u003c/p>\n\u003cp>It’s the story of a Mexican woman named Lydia and her 8-year-old son Luca, who flee their home and undertake a harrowing journey to the U.S. border after gunmen from a local drug cartel kill most of their family. It’s been hailed as “a \u003cem>Grapes of Wrath\u003c/em> for our times.” In fact, that quote is on the cover of the book.\u003c/p>\n\u003cp>And that is one of the many problems with \u003cem>American Dirt\u003c/em>, according to several critics. There have been tweet threads and \u003ca href=\"https://medium.com/@davidbowles/non-mexican-crap-ff3b48a873b5\">essays\u003c/a>, all arguing that the book deploys harmful stereotypes. Even a hashtag — \u003ca href=\"https://twitter.com/search?q=my%20latino%20novel&src=typed_query\">My Latino Novel\u003c/a> — has popped up on Twitter, where people are writing their own parodies. But there is so much more to say about race and identity in publishing, about who gets to tell what stories and which of those voices are elevated in the mainstream culture.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Esmeralda Bermudez']“This is a wonderful, melodramatic telenovela, something I would love watching for cheap entertainment. … But this should not be called by anyone ‘the great immigrant novel, the story of our time.'”[/pullquote]\u003c/p>\n\u003cp>\u003cem>Los Angeles Times\u003c/em> writer Esmeralda Bermudez has been one of the most vocal critics of \u003cem>American Dirt\u003c/em>. “In 17 years of journalism, in interviewing thousands of immigrants, I’ve never come across anyone like \u003cem>American Dirt’s\u003c/em> main character,” Bermudez says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She’s this middle-class, bookstore-owning woman who left Mexico with a small fortune in her pocket, like she was going to go to France or something. With inheritance money. With an ATM to her mom’s life savings. And why did she leave? Because she was flirting with a drug lord who’s now trying to kill her. This is a wonderful, melodramatic telenovela, something I would love watching for cheap entertainment, like a narco-thriller on Netflix. But this should not be called by anyone ‘the great immigrant novel, the story of our time, \u003cem>The Grapes of Wrath\u003c/em>.’ Why? How did we get to a point in our industry, in the book industry, in society, that this is the low standard that we have?”\u003c/p>\n\u003cp>Writer Myriam Gurba, \u003ca href=\"https://tropicsofmeta.com/2019/12/12/pendeja-you-aint-steinbeck-my-bronca-with-fake-ass-social-justice-literature/\">another critic of the book\u003c/a>, pointed out a particular inauthenticity: “There is a scene where the main character encounters an ice rink. And she’s utterly shocked at the existence of this ice rink, as if she’s unaware that winter sports are played in Mexico. And I was laughing,” Gurba says. “I laughed out loud when I got to that section because I learned to ice skate in Mexico. I learned to ice skate at age 9 in Guadalajara.”\u003c/p>\n\u003cp>Bermudez, like many others speaking out against the book, says that despite the author’s intentions, it doesn’t reflect the truth of the migrant experience. “My grandfather, my aunt, my uncle were killed in El Salvador at a time of death squads. Death squads sponsored by the U.S. I was separated from my mom, I didn’t meet her until I was five because of all this violence. I wanted to see myself reflected in this book. It’s painful that not only did I not see myself, but I found all these things that constantly make us feel small.”\u003c/p>\n\u003cp>She says she understands that Americans who aren’t migrants themselves or come from migrant families may walk away from this book with a completely different feeling. “This book has left a lot of white readers with this very fuzzy feeling, like, ‘Oh my God’ about immigrants. And my skin is crawling. My skin is crawling.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Esmeralda Bermudez']“I wanted to see myself reflected in this book. It’s painful that not only did I not see myself, but I found all these things that constantly make us feel small.”[/pullquote]\u003c/p>\n\u003cp>We recorded an interview with Cummins, the book’s author, last week — an interview that never aired because the criticism of \u003cem>American Dirt\u003c/em> started coming down hard, and the conversation about this book had to change. So we called Cummins back. She says she’s tried to avoid the criticism, especially on Twitter. When I share some of what’s being said, Cummins says, “I don’t know how to respond to this. … Not everyone has to love my book. I endeavored to be incredibly culturally sensitive, I did the work, I did five years of research. The whole intention in my heart when I wrote this book was to try to upend the stereotypes that I saw being very prevalent in our national dialogue. And I felt like there was room … for us to examine the humanity of the people involved.”\u003c/p>\n\u003cp>Cummins says she’s aware of her own privilege, her cultural blind spots, and the imbalances in the publishing industry. “And that’s not a problem that I can fix, nor is it a problem that I’m responsible for,” she says. “All I can do is write the book that I believe in. And I did that.”\u003c/p>\n\u003cp>You can find \u003ca href=\"https://www.npr.org/2020/01/24/799164276/american-dirt-author-jeanine-cummins-answers-vocal-critics\">the rest of my conversation with Cummins here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Lisa Weiner and Reena Advani, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a book you might have heard of by now. It’s called \u003cem>American Dirt\u003c/em>, and it’s the much-hyped new novel from author Jeanine Cummins that was released this week.\u003c/p>\n\u003cp>It’s the story of a Mexican woman named Lydia and her 8-year-old son Luca, who flee their home and undertake a harrowing journey to the U.S. border after gunmen from a local drug cartel kill most of their family. It’s been hailed as “a \u003cem>Grapes of Wrath\u003c/em> for our times.” In fact, that quote is on the cover of the book.\u003c/p>\n\u003cp>And that is one of the many problems with \u003cem>American Dirt\u003c/em>, according to several critics. There have been tweet threads and \u003ca href=\"https://medium.com/@davidbowles/non-mexican-crap-ff3b48a873b5\">essays\u003c/a>, all arguing that the book deploys harmful stereotypes. Even a hashtag — \u003ca href=\"https://twitter.com/search?q=my%20latino%20novel&src=typed_query\">My Latino Novel\u003c/a> — has popped up on Twitter, where people are writing their own parodies. But there is so much more to say about race and identity in publishing, about who gets to tell what stories and which of those voices are elevated in the mainstream culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Los Angeles Times\u003c/em> writer Esmeralda Bermudez has been one of the most vocal critics of \u003cem>American Dirt\u003c/em>. “In 17 years of journalism, in interviewing thousands of immigrants, I’ve never come across anyone like \u003cem>American Dirt’s\u003c/em> main character,” Bermudez says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She’s this middle-class, bookstore-owning woman who left Mexico with a small fortune in her pocket, like she was going to go to France or something. With inheritance money. With an ATM to her mom’s life savings. And why did she leave? Because she was flirting with a drug lord who’s now trying to kill her. This is a wonderful, melodramatic telenovela, something I would love watching for cheap entertainment, like a narco-thriller on Netflix. But this should not be called by anyone ‘the great immigrant novel, the story of our time, \u003cem>The Grapes of Wrath\u003c/em>.’ Why? How did we get to a point in our industry, in the book industry, in society, that this is the low standard that we have?”\u003c/p>\n\u003cp>Writer Myriam Gurba, \u003ca href=\"https://tropicsofmeta.com/2019/12/12/pendeja-you-aint-steinbeck-my-bronca-with-fake-ass-social-justice-literature/\">another critic of the book\u003c/a>, pointed out a particular inauthenticity: “There is a scene where the main character encounters an ice rink. And she’s utterly shocked at the existence of this ice rink, as if she’s unaware that winter sports are played in Mexico. And I was laughing,” Gurba says. “I laughed out loud when I got to that section because I learned to ice skate in Mexico. I learned to ice skate at age 9 in Guadalajara.”\u003c/p>\n\u003cp>Bermudez, like many others speaking out against the book, says that despite the author’s intentions, it doesn’t reflect the truth of the migrant experience. “My grandfather, my aunt, my uncle were killed in El Salvador at a time of death squads. Death squads sponsored by the U.S. I was separated from my mom, I didn’t meet her until I was five because of all this violence. I wanted to see myself reflected in this book. It’s painful that not only did I not see myself, but I found all these things that constantly make us feel small.”\u003c/p>\n\u003cp>She says she understands that Americans who aren’t migrants themselves or come from migrant families may walk away from this book with a completely different feeling. “This book has left a lot of white readers with this very fuzzy feeling, like, ‘Oh my God’ about immigrants. And my skin is crawling. My skin is crawling.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We recorded an interview with Cummins, the book’s author, last week — an interview that never aired because the criticism of \u003cem>American Dirt\u003c/em> started coming down hard, and the conversation about this book had to change. So we called Cummins back. She says she’s tried to avoid the criticism, especially on Twitter. When I share some of what’s being said, Cummins says, “I don’t know how to respond to this. … Not everyone has to love my book. I endeavored to be incredibly culturally sensitive, I did the work, I did five years of research. The whole intention in my heart when I wrote this book was to try to upend the stereotypes that I saw being very prevalent in our national dialogue. And I felt like there was room … for us to examine the humanity of the people involved.”\u003c/p>\n\u003cp>Cummins says she’s aware of her own privilege, her cultural blind spots, and the imbalances in the publishing industry. “And that’s not a problem that I can fix, nor is it a problem that I’m responsible for,” she says. “All I can do is write the book that I believe in. And I did that.”\u003c/p>\n\u003cp>You can find \u003ca href=\"https://www.npr.org/2020/01/24/799164276/american-dirt-author-jeanine-cummins-answers-vocal-critics\">the rest of my conversation with Cummins here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced for radio by Lisa Weiner and Reena Advani, and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, Prince Harry and Meghan Markle started new lives in Canada after their establishment-shaking decision to step down from their positions as senior members of the royal family. Based on early photos, they aren’t just putting on a united front: they look pretty damn thrilled about the whole thing.\u003c/p>\n\u003cp>https://twitter.com/TMZ/status/1219632876918054913\u003c/p>\n\u003cp>https://twitter.com/Waynetipsy/status/1219647482818453506\u003c/p>\n\u003cp>The couple’s body language and smiles display a remarkable amount of relief, given the surprisingly harsh “Megxit” terms handed down to them from Queen Elizabeth II over the weekend.\u003c/p>\n\u003cp>The queen’s personal statement regarding her rebellious grandson’s stepping back from royal duties was, on the face of it, both warm and supportive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/B7eJp7tJcXU/?utm_source=ig_embed\u003c/p>\n\u003cp>But the official terms released by Buckingham Palace told a different story entirely.\u003c/p>\n\u003cp>Harry and Meghan are no longer permitted to perform—or receive payment for—any royal duties, despite the fact that their \u003ca href=\"https://www.kqed.org/arts/13872986/prince-harrys-rejection-of-the-royal-lifestyle-is-only-his-latest-rebellious-move\" target=\"_blank\" rel=\"noopener noreferrer\">exit statement\u003c/a> suggested the couple wanted to continue to “honor [their] duty to The Queen [and] the Commonwealth,” and “continue to collaborate” with the royal family.\u003c/p>\n\u003cp>On top of that, Harry and Meghan are required to pay back £2.4 million ($3.1 million) of public funds used to renovate their royal residence, Frogmore Cottage. This despite the fact that it will continue to be their base in England. [aside postid='arts_13872986']\u003c/p>\n\u003cp>Where we really get a sense of the true feelings of Buckingham Palace, though, is with the decision to strip Harry and Meghan of their “His” and “Her Royal Highness” titles. That might not sound like a big deal to Americans, and the Palace has tried to pass it off as being a consequence of “no longer [being] working members of the Royal Family,” but when it happened to Harry’s mother Princess Diana, during her 1996 divorce from Prince Charles, it was widely understood to be an act of cruelty.\u003c/p>\n\u003cp>In 2018, looking back on those events, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/princess-diana-stripped-title-after-13753411\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Daily Mirror\u003c/em> recalled\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Losing the HRH meant it was no longer necessary for friends or staff to bow or curtsy in Diana’s presence. More humiliating, though, was that she herself would now have to curtsy to her husband, her two sons, and a whole host of minor royals… Diana was reportedly so upset by losing the HRH that Prince William, then 14, told her: ‘Don’t worry Mummy, I will give it back to you one day when I am King.'”\u003c/p>\u003c/blockquote>\n\u003cp>For Prince Harry—royal by blood—to be stripped of his HRH is astonishing even under these circumstances, and comes with a subtext that speaks volumes about how the queen \u003cem>really\u003c/em> feels about all this. [aside postid='pop_103656']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How both Harry and Meghan have carried on as if they don’t have a care in the world speaks volumes about just how much they wanted out. It suggests that not only would they do just about anything to \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/01/meghan-sues-mail-on-sunday-for-publishing-letter-to-her-father\" target=\"_blank\" rel=\"noopener noreferrer\">get away\u003c/a> from Britain’s notoriously invasive tabloid news media, but that they really couldn’t care less about the royal regulations that Harry was raised to uphold.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But the official terms released by Buckingham Palace told a different story entirely.\u003c/p>\n\u003cp>Harry and Meghan are no longer permitted to perform—or receive payment for—any royal duties, despite the fact that their \u003ca href=\"https://www.kqed.org/arts/13872986/prince-harrys-rejection-of-the-royal-lifestyle-is-only-his-latest-rebellious-move\" target=\"_blank\" rel=\"noopener noreferrer\">exit statement\u003c/a> suggested the couple wanted to continue to “honor [their] duty to The Queen [and] the Commonwealth,” and “continue to collaborate” with the royal family.\u003c/p>\n\u003cp>On top of that, Harry and Meghan are required to pay back £2.4 million ($3.1 million) of public funds used to renovate their royal residence, Frogmore Cottage. This despite the fact that it will continue to be their base in England. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where we really get a sense of the true feelings of Buckingham Palace, though, is with the decision to strip Harry and Meghan of their “His” and “Her Royal Highness” titles. That might not sound like a big deal to Americans, and the Palace has tried to pass it off as being a consequence of “no longer [being] working members of the Royal Family,” but when it happened to Harry’s mother Princess Diana, during her 1996 divorce from Prince Charles, it was widely understood to be an act of cruelty.\u003c/p>\n\u003cp>In 2018, looking back on those events, \u003ca href=\"https://www.mirror.co.uk/news/uk-news/princess-diana-stripped-title-after-13753411\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Daily Mirror\u003c/em> recalled\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Losing the HRH meant it was no longer necessary for friends or staff to bow or curtsy in Diana’s presence. More humiliating, though, was that she herself would now have to curtsy to her husband, her two sons, and a whole host of minor royals… Diana was reportedly so upset by losing the HRH that Prince William, then 14, told her: ‘Don’t worry Mummy, I will give it back to you one day when I am King.'”\u003c/p>\u003c/blockquote>\n\u003cp>For Prince Harry—royal by blood—to be stripped of his HRH is astonishing even under these circumstances, and comes with a subtext that speaks volumes about how the queen \u003cem>really\u003c/em> feels about all this. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>How both Harry and Meghan have carried on as if they don’t have a care in the world speaks volumes about just how much they wanted out. It suggests that not only would they do just about anything to \u003ca href=\"https://www.theguardian.com/uk-news/2019/oct/01/meghan-sues-mail-on-sunday-for-publishing-letter-to-her-father\" target=\"_blank\" rel=\"noopener noreferrer\">get away\u003c/a> from Britain’s notoriously invasive tabloid news media, but that they really couldn’t care less about the royal regulations that Harry was raised to uphold.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Harvey Weinstein Trial: A Brief Timeline of How We Got Here",
"headTitle": "The Harvey Weinstein Trial: A Brief Timeline of How We Got Here | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>This was never inevitable.\u003c/p>\n\u003cp>For much of Harvey Weinstein’s career, dark rumors of sexual assault and harassment tailed the Hollywood mega-producer. But they were rarely spoken with much volume. Only in recent years did the allegations gather the heft and momentum that culminated in this: a teeming courtroom in Manhattan where, in a matter of weeks, a judge might send Weinstein to prison for the rest of his life.\u003c/p>\n\u003cp>Opening statements start Wednesday in Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark\" target=\"_blank\" rel=\"noopener noreferrer\">criminal trial\u003c/a>. Weinstein has pleaded not guilty to the multiple sexual assault and rape charges he faces in New York state, and he has repeatedly denied wrongdoing, casting these encounters as entirely consensual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So what led to this?\u003c/p>\n\u003cp>While scores of women have accused Weinstein of crimes dating back decades—ranging from intimidation to rape—this timeline focuses on the incidents cited in criminal cases against him in Manhattan and, more recently, in Los Angeles, and the swell of popular momentum that helped drive prosecutors to press charges.\u003c/p>\n\u003ch3>\u003cstrong>Timeline\u003c/strong>\u003c/h3>\n\u003cp>\u003ca id=\"annabella\" class=\"anchor\">\u003c/a> \u003cstrong>Winter 1993-94: Weinstein allegedly rapes Annabella Sciorra\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873663\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png\" alt=\"Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \" width=\"248\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM-160x215.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actress, perhaps best known for her Emmy-nominated work on \u003cem>The Sopranos\u003c/em>, says Weinstein raped her at her Manhattan apartment after an industry dinner. She says the producer dropped her off, only to reappear at her door and force his way inside.\u003c/p>\n\u003cp>Sciorra’s allegation went on to become the subject of pretrial arguments in Manhattan. While the alleged incident is too old to be prosecuted under state law, and while the defense team objected to its inclusion in the trial, her testimony will be \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">heard anyway\u003c/a>, in support of the charge of \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"lucia\" class=\"anchor\">\u003c/a> \u003cstrong>June 1, 2004: Weinstein allegedly forces Lucia Evans to perform oral sex\u003c/strong>\u003c/p>\n\u003cp>The former aspiring actress told \u003cem>The New Yorker—\u003c/em>in one of \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of major stories\u003c/a> that trained a national spotlight on the allegations—that Weinstein raped her in his office in Manhattan’s Tribeca neighborhood.\u003c/p>\n\u003cp>“He forced me to perform oral sex on him,” Evans said, adding: “I said, over and over, ‘I don’t want to do this, stop, don’t.’ I tried to get away, but maybe I didn’t try hard enough. I didn’t want to kick him or fight him.”\u003c/p>\n\u003cp>Her account led prosecutors to pursue a criminal sexual act charge against Weinstein, although it was dismissed in 2018. (More explanation on that \u003ca href=\"#dismissed\" target=\"_blank\" rel=\"noopener noreferrer\">later\u003c/a>.)\u003c/p>\n\u003cp>\u003ca id=\"mimi\" class=\"anchor\">\u003c/a> \u003cstrong>July 10, 2006: Weinstein allegedly forces himself on Mimi Haleyi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873664\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-865953512.jpg\" alt=\"Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haleyi, a former production assistant at Weinstein’s now-bankrupt production company, says that after inviting her to his New York City home, the producer ignored her objections, pulled out her tampon and forcibly performed oral sex on her.\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2017\u003c/a>. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>Haleyi’s claim was included in a \u003ca href=\"#second\" target=\"_blank\" rel=\"noopener noreferrer\">second round of charges\u003c/a> against Weinstein.\u003c/p>\n\u003cp>\u003ca id=\"LAincidents\" class=\"anchor\">\u003c/a> \u003cstrong>Feb. 18-19, 2013: A pair of incidents in Los Angeles\u003c/strong>\u003c/p>\n\u003cp>Few details have been formally released as yet about these alleged incidents, which recently prompted Los Angeles prosecutors to \u003ca href=\"#LA\" target=\"_blank\" rel=\"noopener noreferrer\">file four charges\u003c/a> against Weinstein: one felony count each of forcible rape, forcible oral copulation, sexual penetration by use of force and sexual battery by restraint.\u003c/p>\n\u003cp>“On Feb. 18, 2013, Weinstein allegedly went to a hotel and raped a woman after pushing his way inside her room,” the office of Los Angeles County District Attorney Jackie Lacey \u003ca href=\"http://da.co.la.ca.us/media/news/hollywood-producer-harvey-weinstein-charged-sexually-assaulting-two-women-2013\" target=\"_blank\" rel=\"noopener noreferrer\">explained in early January\u003c/a>. “The next evening, the defendant is accused of sexually assaulting a woman at a hotel suite in Beverly Hills.”\u003c/p>\n\u003cp>\u003cstrong>March 18, 2013: Alleged rape in New York City\u003c/strong>\u003c/p>\n\u003cp>For a long time, even fewer details had been released about this allegation, which prompted two of the charges against Weinstein: first- and third-degree rape. Indeed, it was not until the trial’s opening statements that prosecutors released the name of the alleged victim, Jessica Mann, and the details of her story.\u003c/p>\n\u003cp>Prosecutors said Mann, an aspiring actress, had attended several industry events with Weinstein and endured increasingly aggressive sexual advances—including one incident in which, similar to Haleyi, Mann says Weinstein forcibly performed oral sex on her.\u003c/p>\n\u003cp>But it was later, on March 18—one month after the alleged incidents in LA—that Mann says she tried to confront Weinstein at a hotel in Midtown Manhattan. There, he allegedly coaxed her up to his room, forced her to disrobe and ordered her onto the bed.\u003c/p>\n\u003cp>“He got on top of her and he raped her, forcing his penis into her vagina,” Assistant District Attorney Meghan Hast told jurors on Wednesday. “Jessica just laid there. When he finished, he got off of her.”\u003c/p>\n\u003cp>\u003cstrong>March 2015: New York DA decides not to prosecute allegation\u003c/strong>\u003c/p>\n\u003cp>Ambra Battilana Gutierrez, a Filipina-Italian model, reported Weinstein to the New York Police Department for allegedly groping her during a meeting at his Tribeca office. She \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-3-the-wire/id1487730212?i=1000459181175\" target=\"_blank\" rel=\"noopener noreferrer\">says that\u003c/a> later, at the urging of police, she wore a recording device for an arranged meetup at a Manhattan hotel and that Weinstein admitted that he groped her and sought unsuccessfully to get her to come to his room.\u003c/p>\n\u003cp>Ultimately, however, the office of Manhattan District Attorney Cyrus Vance decided not to pursue the case, saying \u003ca href=\"https://abcnews.go.com/Entertainment/charges-filed-harvey-weinstein/story?id=30232552\" target=\"_blank\" rel=\"noopener noreferrer\">at the time\u003c/a> that “a criminal charge is not supported.”\u003c/p>\n\u003cp>Years later, after the publication of a \u003cem>New Yorker\u003c/em> piece \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">detailing Gutierrez’s allegations\u003c/a>, her story would become a \u003ca href=\"https://www.thecut.com/2018/03/times-up-sexual-assault-cuomo-weinstein-cyrus-vance.html\" target=\"_blank\" rel=\"noopener noreferrer\">focus of intense criticism\u003c/a> leveled at Vance, whose office is now responsible for prosecuting the criminal trial. New York Attorney General Andrew Cuomo \u003ca href=\"https://www.governor.ny.gov/news/statement-governor-andrew-m-cuomo-181\" target=\"_blank\" rel=\"noopener noreferrer\">requested a review\u003c/a> of the DA’s decision in 2015, though it’s not clear whether that was ever completed.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5, 2017: \u003c/strong>\u003cem>\u003cstrong>The New York Times\u003c/strong>\u003c/em>\u003cstrong> publishes allegations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873668\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1192172436.jpg\" alt=\"Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \" width=\"594\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436-160x106.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \u003ccite>(Kena Betancur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While rumors of sexual harassment and assault had long dogged Weinstein—even supplying \u003ca href=\"https://www.latimes.com/entertainment/la-et-entertainment-news-updates-seth-macfarlane-reveals-truth-about-his-1507755303-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">punchlines at the Oscars\u003c/a>—but it wasn’t until the \u003cem>Times\u003c/em> and \u003cem>The New Yorker\u003c/em> published exposés that the allegations found serious traction.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Times’ story\u003c/a>, written by Jodi Kantor and Megan Twohey, focused on allegations by a series of assistants and actresses, such as Ashley Judd and Rose McGowan.\u003c/p>\n\u003cp>Weinstein, in a statement released \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">that same day\u003c/a>, pledged to take a leave of absence and acknowledged that “I have a long way to go.”\u003c/p>\n\u003cp>“I so respect all women and regret what happened,” he said, without admitting wrongdoing.\u003c/p>\n\u003cp>\u003ca id=\"nyer\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 10, 2017: The \u003c/strong>\u003cem>\u003cstrong>New Yorker\u003c/strong>\u003c/em>\u003cstrong> publishes more allegations\u003c/strong>\u003c/p>\n\u003cp>Published just days after the \u003cem>Times\u003c/em> article, \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">journalist Ronan Farrow’s piece\u003c/a> in the \u003cem>New Yorker\u003c/em> focused on a slew of other accusations—including the allegation by Lucia Evans that had been included in and but was later dropped from the list of criminal charges Weinstein faces in New York.\u003c/p>\n\u003cp>\u003cstrong>Oct. 14, 2017: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>is expelled\u003c/strong>\u003c/a>\u003cstrong> from the Academy\u003c/strong>\u003c/p>\n\u003cp>In one of the first signs that the reaction to the \u003cem>Times\u003c/em> and \u003cem>New Yorker\u003c/em> reports represented a sea change, complete with real-world implications for Weinstein, the Hollywood producer is expelled from the Academy of Motion Picture Arts and Sciences, the influential organization responsible for the Oscars.\u003c/p>\n\u003cp>“We do so not simply to separate ourselves from someone who does not merit the respect of his colleagues,” the academy’s 54-member Board of Governors explained in a statement after an emergency meeting, “but also to send a message that the era of willful ignorance and shameful complicity in sexually predatory behavior and workplace harassment in our industry is over.”\u003c/p>\n\u003cp>\u003cstrong>March 19, 2018: The Weinstein Company \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>files for bankruptcy\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Buffeted by months of negative press, the production company that Weinstein founded with his brother, Bob, goes belly up. The company declares bankruptcy and sells “substantially all” of its assets to Lantern Capital Partners, and it also voids the nondisclosure agreements it had reached with Weinstein’s accusers.\u003c/p>\n\u003cp>\u003ca id=\"original\" class=\"anchor\">\u003c/a> \u003cstrong>May 25, 2018: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>surrenders to police\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The former producer arrives at the New York Police Department’s 1st Precinct in Lower Manhattan, where he submits to arrest with droves of journalists looking on. It is Weinstein’s first arrest in connection with the sexual assault allegations.\u003c/p>\n\u003cp>The same day, Manhattan District Attorney Cyrus Vance Jr. submits Weinstein’s \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-criminal-charges-against-harvey-weinstein/\" target=\"_blank\" rel=\"noopener noreferrer\">initial slate of charges\u003c/a>: “The defendant is charged with Rape in the First and Third Degrees, as well as Criminal Sexual Act in the First Degree, for forcible sexual acts against two women in 2013 and 2004, respectively.”\u003c/p>\n\u003cp>About a week and a half later, Weinstein \u003ca href=\"https://www.npr.org/617095337\" target=\"_blank\" rel=\"noopener noreferrer\">pleads not guilty\u003c/a> to the charges, which will later change significantly as new information comes to light.\u003c/p>\n\u003cp>\u003ca id=\"second\" class=\"anchor\">\u003c/a> \u003cstrong>July 2, 2018: \u003c/strong>\u003ca href=\"https://www.npr.org/625330563\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Additional charges\u003c/strong>\u003c/a>\u003cstrong> against Weinstein announced\u003c/strong>\u003c/p>\n\u003cp>Manhattan DA Vance \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-additional-charges-against-harvey-weinstein-including-predatory-sexual-assault/\">announces the filing\u003c/a> of a superseding grand jury indictment, which adds charges connected with a third incident in 2006. The new slate includes one count of criminal sexual act in the first degree and two counts of predatory sexual assault, the most serious charge levied against Weinstein by New York City prosecutors.\u003c/p>\n\u003cp>\u003ca href=\"#mimi\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Haleyi\u003c/a>, who was involved in the alleged 2006 incident, \u003ca href=\"https://youtu.be/VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">had come forward\u003c/a> with her story more than half a year earlier, saying that during her time working at The Weinstein Company, Weinstein orally forced himself on her in his New York City home.\u003c/p>\n\u003cp>Weinstein pleads not guilty to the new charges a week after they are announced.\u003c/p>\n\u003cp>\u003ca id=\"dismissed\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 11, 2018: One charge against Weinstein is dismissed\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873670\" class=\"wp-caption alignnone\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-860971312.jpg\" alt=\"Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13.\" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Justice James Burke, the judge overseeing the Manhattan trial, dismissed one of the charges against the producer after it came to light that investigators didn’t properly present certain information to the grand jury.\u003c/p>\n\u003cp>Lucia Evans told the grand jury—and the \u003cem>New Yorker\u003c/em>—that Weinstein forced her to perform oral sex on him. But an unidentified friend of hers had contradicted that account in an interview with a detective, saying Evans called it a consensual act in exchange for the promise of acting work.\u003c/p>\n\u003cp>Prosecutors acknowledged later that the detective “failed to inform” them of “important details” of the interview prior to Evans’ grand jury testimony. Weinstein’s legal team pushed to have the criminal sexual act charge dismissed as a result, and prosecutors did not object.\u003c/p>\n\u003cp>\u003cstrong>Dec. 11, 2019: The Weinstein Company strikes \u003c/strong>\u003ca href=\"https://www.npr.org/787306873\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>tentative deal\u003c/strong>\u003c/a>\u003cstrong> with alleged victims\u003c/strong>\u003c/p>\n\u003cp>Weinstein and his now-bankrupt production company reach a tentative $47 million settlement to discharge their financial obligations. The deal contains $25 million earmarked for Weinstein’s alleged victims, including more than 30 actresses and former employees. It does not, however, require an admission of wrongdoing or any personal payments from Weinstein.\u003c/p>\n\u003cp>It is not a done deal, though: A judge still needs to sign off on the agreement for it to become final. And \u003ca href=\"https://www.npr.org/2019/05/24/726499228/wsj-harvey-weinstein-reaches-44-million-deal-over-sexual-misconduct\" target=\"_blank\" rel=\"noopener noreferrer\">previous attempts\u003c/a> have fallen through.\u003c/p>\n\u003cp>\u003cstrong>Jan. 6, 2020: Trial in New York City begins\u003c/strong>\u003c/p>\n\u003cp>Weinstein’s trial formally opens in Manhattan, with more than two weeks devoted to selecting a jury. After roughly a year and a half of pretrial wrangling, the charges Weinstein faces are as follows:\u003c/p>\n\u003cul>\n\u003cli>Two counts of predatory sexual assault\u003c/li>\n\u003cli>One count of rape in the first degree (connected to the 2013 incident)\u003c/li>\n\u003cli>One count of rape in the third degree (2013 incident)\u003c/li>\n\u003cli>One count of criminal sexual act in the first degree (2006 incident)\u003c/li>\n\u003c/ul>\n\u003cp>If convicted of the most serious crime on that list, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, Weinstein faces the possibility of spending the rest of his \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">life in prison\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"LA\" class=\"anchor\">\u003c/a> \u003cstrong>Jan. 6, 2020: Los Angeles prosecutors announce \u003c/strong>\u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>charges of their own\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The same day that his trial opens in Manhattan, Weinstein is hit with new legal woes from the other side of the U.S.: \u003ca href=\"http://da.co.la.ca.us/sites/default/files/press/010620_Hollywood_Producer_Harvey_Weinstein_Charged_With_Sexually_Assaulting_Two_Women_in_2013.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">four felony counts of sexual assault\u003c/a>, filed by Los Angeles County District Attorney Lacey. The charges are connected with incidents that allegedly happened at local hotels over \u003ca href=\"#laincidents\" target=\"_blank\" rel=\"noopener noreferrer\">two nights in February 2013\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We believe the evidence will show that the defendant used his power and influence to gain access to his victims,” Lacey says, “and then commit violent crimes against them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Harvey+Weinstein+Trial%3A+A+Brief+Timeline+Of+How+We+Got+Here&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "For years, dark rumors swirled around the movie producer. So how did those whispered allegations result in a full-fledged criminal trial? Here's an abridged history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This report includes descriptions of sexual assault.\u003c/em>\u003c/p>\n\u003cp>This was never inevitable.\u003c/p>\n\u003cp>For much of Harvey Weinstein’s career, dark rumors of sexual assault and harassment tailed the Hollywood mega-producer. But they were rarely spoken with much volume. Only in recent years did the allegations gather the heft and momentum that culminated in this: a teeming courtroom in Manhattan where, in a matter of weeks, a judge might send Weinstein to prison for the rest of his life.\u003c/p>\n\u003cp>Opening statements start Wednesday in Weinstein’s \u003ca href=\"https://www.npr.org/2020/01/06/793613868/harvey-weinstein-heads-to-trial-for-sex-crimes-in-a-metoo-landmark\" target=\"_blank\" rel=\"noopener noreferrer\">criminal trial\u003c/a>. Weinstein has pleaded not guilty to the multiple sexual assault and rape charges he faces in New York state, and he has repeatedly denied wrongdoing, casting these encounters as entirely consensual.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So what led to this?\u003c/p>\n\u003cp>While scores of women have accused Weinstein of crimes dating back decades—ranging from intimidation to rape—this timeline focuses on the incidents cited in criminal cases against him in Manhattan and, more recently, in Los Angeles, and the swell of popular momentum that helped drive prosecutors to press charges.\u003c/p>\n\u003ch3>\u003cstrong>Timeline\u003c/strong>\u003c/h3>\n\u003cp>\u003ca id=\"annabella\" class=\"anchor\">\u003c/a> \u003cstrong>Winter 1993-94: Weinstein allegedly rapes Annabella Sciorra\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873663\" class=\"wp-caption alignright\" style=\"max-width: 248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873663\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png\" alt=\"Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \" width=\"248\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM.png 248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Screen-Shot-2020-01-22-at-11.50.39-AM-160x215.png 160w\" sizes=\"(max-width: 248px) 100vw, 248px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Sciorra attends the Vanity Fair Oscar Party, March 2018. \u003ccite>(Dia Dipasupil/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actress, perhaps best known for her Emmy-nominated work on \u003cem>The Sopranos\u003c/em>, says Weinstein raped her at her Manhattan apartment after an industry dinner. She says the producer dropped her off, only to reappear at her door and force his way inside.\u003c/p>\n\u003cp>Sciorra’s allegation went on to become the subject of pretrial arguments in Manhattan. While the alleged incident is too old to be prosecuted under state law, and while the defense team objected to its inclusion in the trial, her testimony will be \u003ca href=\"https://www.nytimes.com/2019/08/26/nyregion/harvey-weinstein-annabella-sciorra-trial-rape.html\" target=\"_blank\" rel=\"noopener noreferrer\">heard anyway\u003c/a>, in support of the charge of \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"lucia\" class=\"anchor\">\u003c/a> \u003cstrong>June 1, 2004: Weinstein allegedly forces Lucia Evans to perform oral sex\u003c/strong>\u003c/p>\n\u003cp>The former aspiring actress told \u003cem>The New Yorker—\u003c/em>in one of \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">a pair of major stories\u003c/a> that trained a national spotlight on the allegations—that Weinstein raped her in his office in Manhattan’s Tribeca neighborhood.\u003c/p>\n\u003cp>“He forced me to perform oral sex on him,” Evans said, adding: “I said, over and over, ‘I don’t want to do this, stop, don’t.’ I tried to get away, but maybe I didn’t try hard enough. I didn’t want to kick him or fight him.”\u003c/p>\n\u003cp>Her account led prosecutors to pursue a criminal sexual act charge against Weinstein, although it was dismissed in 2018. (More explanation on that \u003ca href=\"#dismissed\" target=\"_blank\" rel=\"noopener noreferrer\">later\u003c/a>.)\u003c/p>\n\u003cp>\u003ca id=\"mimi\" class=\"anchor\">\u003c/a> \u003cstrong>July 10, 2006: Weinstein allegedly forces himself on Mimi Haleyi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873664\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873664\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-865953512.jpg\" alt=\"Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-865953512-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Mimi Haleyi (L) and Attorney Gloria Allred speak during a press conference, October 2017, New York City. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Haleyi, a former production assistant at Weinstein’s now-bankrupt production company, says that after inviting her to his New York City home, the producer ignored her objections, pulled out her tampon and forcibly performed oral sex on her.\u003c/p>\n\u003cp>“No woman should have to be subjected to this type of unacceptable abuse,” she \u003ca href=\"https://www.youtube.com/watch?v=VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">said in 2017\u003c/a>. “Women have the right to say no. A ‘no’ is a ‘no,’ regardless of the circumstances—and I told Harvey no.”\u003c/p>\n\u003cp>Haleyi’s claim was included in a \u003ca href=\"#second\" target=\"_blank\" rel=\"noopener noreferrer\">second round of charges\u003c/a> against Weinstein.\u003c/p>\n\u003cp>\u003ca id=\"LAincidents\" class=\"anchor\">\u003c/a> \u003cstrong>Feb. 18-19, 2013: A pair of incidents in Los Angeles\u003c/strong>\u003c/p>\n\u003cp>Few details have been formally released as yet about these alleged incidents, which recently prompted Los Angeles prosecutors to \u003ca href=\"#LA\" target=\"_blank\" rel=\"noopener noreferrer\">file four charges\u003c/a> against Weinstein: one felony count each of forcible rape, forcible oral copulation, sexual penetration by use of force and sexual battery by restraint.\u003c/p>\n\u003cp>“On Feb. 18, 2013, Weinstein allegedly went to a hotel and raped a woman after pushing his way inside her room,” the office of Los Angeles County District Attorney Jackie Lacey \u003ca href=\"http://da.co.la.ca.us/media/news/hollywood-producer-harvey-weinstein-charged-sexually-assaulting-two-women-2013\" target=\"_blank\" rel=\"noopener noreferrer\">explained in early January\u003c/a>. “The next evening, the defendant is accused of sexually assaulting a woman at a hotel suite in Beverly Hills.”\u003c/p>\n\u003cp>\u003cstrong>March 18, 2013: Alleged rape in New York City\u003c/strong>\u003c/p>\n\u003cp>For a long time, even fewer details had been released about this allegation, which prompted two of the charges against Weinstein: first- and third-degree rape. Indeed, it was not until the trial’s opening statements that prosecutors released the name of the alleged victim, Jessica Mann, and the details of her story.\u003c/p>\n\u003cp>Prosecutors said Mann, an aspiring actress, had attended several industry events with Weinstein and endured increasingly aggressive sexual advances—including one incident in which, similar to Haleyi, Mann says Weinstein forcibly performed oral sex on her.\u003c/p>\n\u003cp>But it was later, on March 18—one month after the alleged incidents in LA—that Mann says she tried to confront Weinstein at a hotel in Midtown Manhattan. There, he allegedly coaxed her up to his room, forced her to disrobe and ordered her onto the bed.\u003c/p>\n\u003cp>“He got on top of her and he raped her, forcing his penis into her vagina,” Assistant District Attorney Meghan Hast told jurors on Wednesday. “Jessica just laid there. When he finished, he got off of her.”\u003c/p>\n\u003cp>\u003cstrong>March 2015: New York DA decides not to prosecute allegation\u003c/strong>\u003c/p>\n\u003cp>Ambra Battilana Gutierrez, a Filipina-Italian model, reported Weinstein to the New York Police Department for allegedly groping her during a meeting at his Tribeca office. She \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-3-the-wire/id1487730212?i=1000459181175\" target=\"_blank\" rel=\"noopener noreferrer\">says that\u003c/a> later, at the urging of police, she wore a recording device for an arranged meetup at a Manhattan hotel and that Weinstein admitted that he groped her and sought unsuccessfully to get her to come to his room.\u003c/p>\n\u003cp>Ultimately, however, the office of Manhattan District Attorney Cyrus Vance decided not to pursue the case, saying \u003ca href=\"https://abcnews.go.com/Entertainment/charges-filed-harvey-weinstein/story?id=30232552\" target=\"_blank\" rel=\"noopener noreferrer\">at the time\u003c/a> that “a criminal charge is not supported.”\u003c/p>\n\u003cp>Years later, after the publication of a \u003cem>New Yorker\u003c/em> piece \u003ca href=\"#nyer\" target=\"_blank\" rel=\"noopener noreferrer\">detailing Gutierrez’s allegations\u003c/a>, her story would become a \u003ca href=\"https://www.thecut.com/2018/03/times-up-sexual-assault-cuomo-weinstein-cyrus-vance.html\" target=\"_blank\" rel=\"noopener noreferrer\">focus of intense criticism\u003c/a> leveled at Vance, whose office is now responsible for prosecuting the criminal trial. New York Attorney General Andrew Cuomo \u003ca href=\"https://www.governor.ny.gov/news/statement-governor-andrew-m-cuomo-181\" target=\"_blank\" rel=\"noopener noreferrer\">requested a review\u003c/a> of the DA’s decision in 2015, though it’s not clear whether that was ever completed.\u003c/p>\n\u003cp>\u003cstrong>Oct. 5, 2017: \u003c/strong>\u003cem>\u003cstrong>The New York Times\u003c/strong>\u003c/em>\u003cstrong> publishes allegations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873668\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1192172436.jpg\" alt=\"Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \" width=\"594\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-1192172436-160x106.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Rose McGowan speaks to the media outside court on January 6, 2020, New York City. \u003ccite>(Kena Betancur/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While rumors of sexual harassment and assault had long dogged Weinstein—even supplying \u003ca href=\"https://www.latimes.com/entertainment/la-et-entertainment-news-updates-seth-macfarlane-reveals-truth-about-his-1507755303-htmlstory.html\" target=\"_blank\" rel=\"noopener noreferrer\">punchlines at the Oscars\u003c/a>—but it wasn’t until the \u003cem>Times\u003c/em> and \u003cem>The New Yorker\u003c/em> published exposés that the allegations found serious traction.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Times’ story\u003c/a>, written by Jodi Kantor and Megan Twohey, focused on allegations by a series of assistants and actresses, such as Ashley Judd and Rose McGowan.\u003c/p>\n\u003cp>Weinstein, in a statement released \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener noreferrer\">that same day\u003c/a>, pledged to take a leave of absence and acknowledged that “I have a long way to go.”\u003c/p>\n\u003cp>“I so respect all women and regret what happened,” he said, without admitting wrongdoing.\u003c/p>\n\u003cp>\u003ca id=\"nyer\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 10, 2017: The \u003c/strong>\u003cem>\u003cstrong>New Yorker\u003c/strong>\u003c/em>\u003cstrong> publishes more allegations\u003c/strong>\u003c/p>\n\u003cp>Published just days after the \u003cem>Times\u003c/em> article, \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\" target=\"_blank\" rel=\"noopener noreferrer\">journalist Ronan Farrow’s piece\u003c/a> in the \u003cem>New Yorker\u003c/em> focused on a slew of other accusations—including the allegation by Lucia Evans that had been included in and but was later dropped from the list of criminal charges Weinstein faces in New York.\u003c/p>\n\u003cp>\u003cstrong>Oct. 14, 2017: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>is expelled\u003c/strong>\u003c/a>\u003cstrong> from the Academy\u003c/strong>\u003c/p>\n\u003cp>In one of the first signs that the reaction to the \u003cem>Times\u003c/em> and \u003cem>New Yorker\u003c/em> reports represented a sea change, complete with real-world implications for Weinstein, the Hollywood producer is expelled from the Academy of Motion Picture Arts and Sciences, the influential organization responsible for the Oscars.\u003c/p>\n\u003cp>“We do so not simply to separate ourselves from someone who does not merit the respect of his colleagues,” the academy’s 54-member Board of Governors explained in a statement after an emergency meeting, “but also to send a message that the era of willful ignorance and shameful complicity in sexually predatory behavior and workplace harassment in our industry is over.”\u003c/p>\n\u003cp>\u003cstrong>March 19, 2018: The Weinstein Company \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>files for bankruptcy\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Buffeted by months of negative press, the production company that Weinstein founded with his brother, Bob, goes belly up. The company declares bankruptcy and sells “substantially all” of its assets to Lantern Capital Partners, and it also voids the nondisclosure agreements it had reached with Weinstein’s accusers.\u003c/p>\n\u003cp>\u003ca id=\"original\" class=\"anchor\">\u003c/a> \u003cstrong>May 25, 2018: Weinstein \u003c/strong>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/25/614339339/harvey-weinstein-surrenders-to-authorities-on-sexual-assault-charges\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>surrenders to police\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The former producer arrives at the New York Police Department’s 1st Precinct in Lower Manhattan, where he submits to arrest with droves of journalists looking on. It is Weinstein’s first arrest in connection with the sexual assault allegations.\u003c/p>\n\u003cp>The same day, Manhattan District Attorney Cyrus Vance Jr. submits Weinstein’s \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-criminal-charges-against-harvey-weinstein/\" target=\"_blank\" rel=\"noopener noreferrer\">initial slate of charges\u003c/a>: “The defendant is charged with Rape in the First and Third Degrees, as well as Criminal Sexual Act in the First Degree, for forcible sexual acts against two women in 2013 and 2004, respectively.”\u003c/p>\n\u003cp>About a week and a half later, Weinstein \u003ca href=\"https://www.npr.org/617095337\" target=\"_blank\" rel=\"noopener noreferrer\">pleads not guilty\u003c/a> to the charges, which will later change significantly as new information comes to light.\u003c/p>\n\u003cp>\u003ca id=\"second\" class=\"anchor\">\u003c/a> \u003cstrong>July 2, 2018: \u003c/strong>\u003ca href=\"https://www.npr.org/625330563\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Additional charges\u003c/strong>\u003c/a>\u003cstrong> against Weinstein announced\u003c/strong>\u003c/p>\n\u003cp>Manhattan DA Vance \u003ca href=\"https://www.manhattanda.org/district-attorney-vance-announces-additional-charges-against-harvey-weinstein-including-predatory-sexual-assault/\">announces the filing\u003c/a> of a superseding grand jury indictment, which adds charges connected with a third incident in 2006. The new slate includes one count of criminal sexual act in the first degree and two counts of predatory sexual assault, the most serious charge levied against Weinstein by New York City prosecutors.\u003c/p>\n\u003cp>\u003ca href=\"#mimi\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Haleyi\u003c/a>, who was involved in the alleged 2006 incident, \u003ca href=\"https://youtu.be/VFX-wWVOyjc\" target=\"_blank\" rel=\"noopener noreferrer\">had come forward\u003c/a> with her story more than half a year earlier, saying that during her time working at The Weinstein Company, Weinstein orally forced himself on her in his New York City home.\u003c/p>\n\u003cp>Weinstein pleads not guilty to the new charges a week after they are announced.\u003c/p>\n\u003cp>\u003ca id=\"dismissed\" class=\"anchor\">\u003c/a> \u003cstrong>Oct. 11, 2018: One charge against Weinstein is dismissed\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13873670\" class=\"wp-caption alignnone\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13873670\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-860971312.jpg\" alt=\"Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13.\" width=\"594\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/GettyImages-860971312-160x107.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Members of the National Organization for Women (NOW) hold a news conference and demonstration outside of Manhattan Criminal Court, October 13. \u003ccite>(Spencer Platt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Justice James Burke, the judge overseeing the Manhattan trial, dismissed one of the charges against the producer after it came to light that investigators didn’t properly present certain information to the grand jury.\u003c/p>\n\u003cp>Lucia Evans told the grand jury—and the \u003cem>New Yorker\u003c/em>—that Weinstein forced her to perform oral sex on him. But an unidentified friend of hers had contradicted that account in an interview with a detective, saying Evans called it a consensual act in exchange for the promise of acting work.\u003c/p>\n\u003cp>Prosecutors acknowledged later that the detective “failed to inform” them of “important details” of the interview prior to Evans’ grand jury testimony. Weinstein’s legal team pushed to have the criminal sexual act charge dismissed as a result, and prosecutors did not object.\u003c/p>\n\u003cp>\u003cstrong>Dec. 11, 2019: The Weinstein Company strikes \u003c/strong>\u003ca href=\"https://www.npr.org/787306873\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>tentative deal\u003c/strong>\u003c/a>\u003cstrong> with alleged victims\u003c/strong>\u003c/p>\n\u003cp>Weinstein and his now-bankrupt production company reach a tentative $47 million settlement to discharge their financial obligations. The deal contains $25 million earmarked for Weinstein’s alleged victims, including more than 30 actresses and former employees. It does not, however, require an admission of wrongdoing or any personal payments from Weinstein.\u003c/p>\n\u003cp>It is not a done deal, though: A judge still needs to sign off on the agreement for it to become final. And \u003ca href=\"https://www.npr.org/2019/05/24/726499228/wsj-harvey-weinstein-reaches-44-million-deal-over-sexual-misconduct\" target=\"_blank\" rel=\"noopener noreferrer\">previous attempts\u003c/a> have fallen through.\u003c/p>\n\u003cp>\u003cstrong>Jan. 6, 2020: Trial in New York City begins\u003c/strong>\u003c/p>\n\u003cp>Weinstein’s trial formally opens in Manhattan, with more than two weeks devoted to selecting a jury. After roughly a year and a half of pretrial wrangling, the charges Weinstein faces are as follows:\u003c/p>\n\u003cul>\n\u003cli>Two counts of predatory sexual assault\u003c/li>\n\u003cli>One count of rape in the first degree (connected to the 2013 incident)\u003c/li>\n\u003cli>One count of rape in the third degree (2013 incident)\u003c/li>\n\u003cli>One count of criminal sexual act in the first degree (2006 incident)\u003c/li>\n\u003c/ul>\n\u003cp>If convicted of the most serious crime on that list, \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/130.95\" target=\"_blank\" rel=\"noopener noreferrer\">predatory sexual assault\u003c/a>, Weinstein faces the possibility of spending the rest of his \u003ca href=\"https://www.nysenate.gov/legislation/laws/PEN/70.00\" target=\"_blank\" rel=\"noopener noreferrer\">life in prison\u003c/a>.\u003c/p>\n\u003cp>\u003ca id=\"LA\" class=\"anchor\">\u003c/a> \u003cstrong>Jan. 6, 2020: Los Angeles prosecutors announce \u003c/strong>\u003ca href=\"https://www.npr.org/2020/01/06/794012813/harvey-weinstein-is-charged-with-sexual-assault-in-los-angeles-as-n-y-trial-begi\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>charges of their own\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>The same day that his trial opens in Manhattan, Weinstein is hit with new legal woes from the other side of the U.S.: \u003ca href=\"http://da.co.la.ca.us/sites/default/files/press/010620_Hollywood_Producer_Harvey_Weinstein_Charged_With_Sexually_Assaulting_Two_Women_in_2013.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">four felony counts of sexual assault\u003c/a>, filed by Los Angeles County District Attorney Lacey. The charges are connected with incidents that allegedly happened at local hotels over \u003ca href=\"#laincidents\" target=\"_blank\" rel=\"noopener noreferrer\">two nights in February 2013\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We believe the evidence will show that the defendant used his power and influence to gain access to his victims,” Lacey says, “and then commit violent crimes against them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Harvey+Weinstein+Trial%3A+A+Brief+Timeline+Of+How+We+Got+Here&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFFILM\u003c/a>, the non-profit which oversees the annual San Francisco International Film Festival, has appointed a new leader.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0481666/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Lai\u003c/a>‘s resume is packed with high-profile Hollywood projects. She served as director Ridley Scott’s assistant on the big-budget spectacular \u003cem>Gladiator\u003c/em> starring Russell Crowe. She also worked as a \u003cspan style=\"font-weight: 400\">development executive \u003c/span>on other Scott projects, like \u003cem>Hannibal\u003c/em> and \u003cem>Black Hawk Down\u003c/em>.\u003c/p>\n\u003cp>But she’s spent the past 12 years at the Sundance Institute, nurturing emerging filmmakers in her role as director of creative producing and artist support.\u003c/p>\n\u003cp>“I love that San Francisco is home to many wonderful filmmakers, and having that base is a fundamental strength in growing a next generation of artists,” said Lai, responding to KQED’s questions via email. “There are lots of ideas to explore—within existing programs and potential new ones. One avenue I particularly believe in is creating connections and opportunities for artists to mentor each other, and generally be a sounding board for each other as they navigate creative, career, and strategic paths forward. I think that this type of relationship building can have a big impact on sustaining a career in filmmaking.”\u003c/p>\n\u003cp>Some of Lai’s projects to date have included local Bay Area talent, like Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> and Joe Talbot’s \u003cem>The Last Black Man in San Francisco.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Filmmakers are at the center of our work, no matter if you’re talking about our youth education, artist development, or exhibition programs—and Anne has an excellent track record for championing important storytellers throughout her career,” said Rachel Rosen, SFFILM’s director of Programming, who plans to leave the organization after 20 years of service this summer to pursue consulting. “Her clear dedication to artists is going to plug in perfectly to our work in making sure important films are made, seen, and appreciated. She loves film and believes in its future, and that’s going to be a great match for our passionate audiences and the Bay Area arts community at large.”\u003c/p>\n\u003cp>Lai, who’s 48, was born and raised in Dayton, Ohio. She studied at the University of Michigan, and received a film production degree from the University of Southern California.\u003c/p>\n\u003cp>“Anne has supported all of our artists in a robust and meaningful continuum of support throughout the year,” said Michelle Satter, the founding director of the Sundance Institute’s Feature Film Program. “She has made an indelible and extraordinary contribution to the work of the Institute, especially in the creation of our work supporting producers and the field and the many filmmakers who got their films made with her insights, connections and creative and tactical feedback.”\u003c/p>\n\u003cp>Lai’s appointment comes approximately 10 months after former SFFILM executive director Noah Cowan unexpectedly resigned. (A spokesperson for SFFILM said Cowan is currently running a consultancy for film organizations and distribution agencies in Los Angeles.)\u003c/p>\n\u003cp>The organization has experienced a lot of change at the top in recent years. Prior to Cowan, SFFILM churned through four other executive directors in as many years.\u003c/p>\n\u003cp>Lai said the recent instability of SFFILM’s leadership isn’t a reflection of the organization as a whole.\u003c/p>\n\u003cp>“The overall organization, which includes the festival as well as its artist development and education programs, has been remarkably steady and strong, which I attribute to its tremendous staff and board,” Lai said. “I can only speak to my own intent, which is a huge desire to create a stable and healthy environment for SFFILM to continue to thrive.”\u003c/p>\n\u003cp>The San Francisco International Film Festival was founded in 1957 and is one of the country’s longest running annual movie gatherings.\u003c/p>\n\u003cp>Other Bay Area film organizations are excited about Lai’s arrival. “We congratulate SFFILM on selecting Anne to lead this important and vital San Francisco film institution,” said Stephen Gong, executive director of the \u003ca href=\"https://caamedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Asian American Media\u003c/a>. “We know Anne from her great work at the Sundance Institute and look forward to working with her to strengthen the Bay Area film community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lai is scheduled to start her new role in March, just in time for this year’s San Francisco International Film Festival, running April 8–21.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://sffilm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFFILM\u003c/a>, the non-profit which oversees the annual San Francisco International Film Festival, has appointed a new leader.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0481666/\" target=\"_blank\" rel=\"noopener noreferrer\">Anne Lai\u003c/a>‘s resume is packed with high-profile Hollywood projects. She served as director Ridley Scott’s assistant on the big-budget spectacular \u003cem>Gladiator\u003c/em> starring Russell Crowe. She also worked as a \u003cspan style=\"font-weight: 400\">development executive \u003c/span>on other Scott projects, like \u003cem>Hannibal\u003c/em> and \u003cem>Black Hawk Down\u003c/em>.\u003c/p>\n\u003cp>But she’s spent the past 12 years at the Sundance Institute, nurturing emerging filmmakers in her role as director of creative producing and artist support.\u003c/p>\n\u003cp>“I love that San Francisco is home to many wonderful filmmakers, and having that base is a fundamental strength in growing a next generation of artists,” said Lai, responding to KQED’s questions via email. “There are lots of ideas to explore—within existing programs and potential new ones. One avenue I particularly believe in is creating connections and opportunities for artists to mentor each other, and generally be a sounding board for each other as they navigate creative, career, and strategic paths forward. I think that this type of relationship building can have a big impact on sustaining a career in filmmaking.”\u003c/p>\n\u003cp>Some of Lai’s projects to date have included local Bay Area talent, like Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> and Joe Talbot’s \u003cem>The Last Black Man in San Francisco.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Filmmakers are at the center of our work, no matter if you’re talking about our youth education, artist development, or exhibition programs—and Anne has an excellent track record for championing important storytellers throughout her career,” said Rachel Rosen, SFFILM’s director of Programming, who plans to leave the organization after 20 years of service this summer to pursue consulting. “Her clear dedication to artists is going to plug in perfectly to our work in making sure important films are made, seen, and appreciated. She loves film and believes in its future, and that’s going to be a great match for our passionate audiences and the Bay Area arts community at large.”\u003c/p>\n\u003cp>Lai, who’s 48, was born and raised in Dayton, Ohio. She studied at the University of Michigan, and received a film production degree from the University of Southern California.\u003c/p>\n\u003cp>“Anne has supported all of our artists in a robust and meaningful continuum of support throughout the year,” said Michelle Satter, the founding director of the Sundance Institute’s Feature Film Program. “She has made an indelible and extraordinary contribution to the work of the Institute, especially in the creation of our work supporting producers and the field and the many filmmakers who got their films made with her insights, connections and creative and tactical feedback.”\u003c/p>\n\u003cp>Lai’s appointment comes approximately 10 months after former SFFILM executive director Noah Cowan unexpectedly resigned. (A spokesperson for SFFILM said Cowan is currently running a consultancy for film organizations and distribution agencies in Los Angeles.)\u003c/p>\n\u003cp>The organization has experienced a lot of change at the top in recent years. Prior to Cowan, SFFILM churned through four other executive directors in as many years.\u003c/p>\n\u003cp>Lai said the recent instability of SFFILM’s leadership isn’t a reflection of the organization as a whole.\u003c/p>\n\u003cp>“The overall organization, which includes the festival as well as its artist development and education programs, has been remarkably steady and strong, which I attribute to its tremendous staff and board,” Lai said. “I can only speak to my own intent, which is a huge desire to create a stable and healthy environment for SFFILM to continue to thrive.”\u003c/p>\n\u003cp>The San Francisco International Film Festival was founded in 1957 and is one of the country’s longest running annual movie gatherings.\u003c/p>\n\u003cp>Other Bay Area film organizations are excited about Lai’s arrival. “We congratulate SFFILM on selecting Anne to lead this important and vital San Francisco film institution,” said Stephen Gong, executive director of the \u003ca href=\"https://caamedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Asian American Media\u003c/a>. “We know Anne from her great work at the Sundance Institute and look forward to working with her to strengthen the Bay Area film community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lai is scheduled to start her new role in March, just in time for this year’s San Francisco International Film Festival, running April 8–21.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession",
"title": "'Heat' – The Ultimate L.A. Movie, the Ultimate Obsession",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back in 2018, I heard about a guy in Australia called Blake Howard — for the reason that he loved the same movie as me. A \u003cem>lot\u003c/em>.\u003c/p>\n\u003cp>The movie was Michael Mann’s 1995 crime thriller \u003ca href=\"https://www.imdb.com/title/tt0113277/\">\"Heat\"\u003c/a>. Yet unlike me, Howard loved it so much that he was obsessively making a podcast series analyzing the film one minute at a time, episode by episode — all 170 minutes of it. The podcast was called \u003ca href=\"https://oneheatminute.com/podcast\">\"One Heat Minute\u003c/a>\".\u003c/p>\n\u003cfigure id=\"attachment_11796549\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796549\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-1020x679.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard at the 2019 Sydney Film Festival \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theringer.com/2017/1/11/16043060/star-wars-minute-movies-by-minute-podcast-microculture-trend-7c45069cdb60\">Minute-by-minute movie podcasts\u003c/a> are nothing new, but I was so intrigued by Howard’s professional dedication to \"Heat,\" of all movies, that I \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">interviewed him in Sept., 2018\u003c/a>. We talked about both becoming obsessed with \"Heat\" as impressionable teens, podcasting’s ability to create community around extremely niche interests, and his wild fantasy that his cinematic idol, \"Heat\" director Mann, would one day be on \"One Heat Minute.\" We laughed about the sheer implausibility of that last idea, and I wrote up \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">our conversation\u003c/a> as a story about sincerity and obsession.\u003c/p>\n\u003cp>Now, at the end of his quest two years after he first started, \"One Heat Minute\" has spawned a \u003ca href=\"https://twitter.com/search?q=%23OneHeatMinute&src=typed_query\">hyper-enthusiastic online fan base\u003c/a>, been named in \"Vulture’s\" \u003ca href=\"https://www.vulture.com/article/best-podcasts.html\">100 Great Podcasts\u003c/a>, been \u003ca href=\"https://twitter.com/realgdt/status/1143695297891176448?s=21\">hailed by movie luminaries like Guillermo del Toro\u003c/a>, and welcomed its final guest... Michael Mann.\u003c/p>\n\u003cp>So now, \u003cem>this\u003c/em> is a story about sincerity, obsession and what happens when the usual gulf between famous creators and fandom gets unexpectedly obliterated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>'Clinically Obsessed'\u003c/h3>\n\u003cp>Even if you haven’t seen \"Heat,\" trust me: you probably still \u003cem>know\u003c/em> \"Heat.\" De Niro as a meticulous L.A. bank robber planning the heist of a lifetime, Al Pacino as a volatile cop consumed by taking him down — with a supporting cast stuffed with '90s A-listers from Val Kilmer and Tom Sizemore to Ashley Judd and Natalie Portman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2GfZl4kuVNI\u003c/p>\n\u003cp>\"Heat\" is also loud, bombastic and drips with machismo, and even a lifelong superfan like me can giggle at the riper portions of its dialogue (“For me, the action \u003cem>is\u003c/em> the juice!”) — or roll my eyes a little at how much less drawn the female roles (wives, girlfriends) seem in comparison to their male counterparts. Pacino's performance is infamously brash, and makes a lot more sense when you find out his character was \u003ca href=\"https://news.avclub.com/al-pacino-finally-admits-his-heat-character-was-high-on-1798251639\">meant to be high on cocaine\u003c/a>.\u003c/p>\n\u003cp>Yet as a portrait of a dark, dangerous L.A., and two men obsessed with their professions to the exclusion of all else in life, \"Heat\" radiates an unusual kind of ennui not often found in action movies. Its major themes are loss and loneliness, and moments such as Pacino’s confession to his soon-to-be-ex-wife — “All I have is what I’m going after” — take Mann’s movie to far more melancholic places than most thrillers. Added to its two iconic leads, this at least partly explains why \"Heat\" has developed something of a cult following in the quarter century since it was released.\u003c/p>\n\u003cp>Part of that following since he first saw it? Blake Howard. He describes himself as becoming “clinically obsessed with movies” in his youth, thanks in part to an older brother who worked in a video warehouse and would bring back the VHS spoils for Howard’s consumption. Among those videotapes was \"Heat.\"\u003c/p>\n\u003cfigure id=\"attachment_11796548\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796548\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg\" alt=\"\" width=\"1920\" height=\"1212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-1020x644.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Blake Howard with sister Skye and brother Karn - the provider of his VHS collection. \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though it’s regarded as one of the quintessential Los Angeles movies, the version of the city a young Howard saw in this movie — the lonely industrial landscapes, the car culture, the endless roads — was one he hadn’t seen before. It was one that in many ways reminded him of his native Sydney. “This sprawling place... [that] felt so \u003cem>dilapidated\u003c/em>,” he says, “like it was empty.” And as Howard grew older he found \"Heat\" assuming a place in his life as a kind of cinematic life companion, welded to him by “existential and philosophical underpinnings that kind of enriched every viewing.”\u003c/p>\n\u003cp>Of all the movies in the world, a melancholy '90s crime thriller about obsession and alienation, set thousands of miles away, wouldn’t let him go. “I never could satiate the itch to continue talking about it,” he says — even as he became a part time movie critic himself.\u003c/p>\n\u003cfigure id=\"attachment_11796572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796572\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Al Pacino in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why in 2017, Howard was affectionately goaded by fellow critic Stu Coote into realizing his dream to “just f****** talk about \"Heat\" every day” — and starting the \"One Heat Minute\" podcast. It was, Howard says, “the ultimate way to tackle and wrestle with this movie.”\u003c/p>\n\u003ch3>'This Is \u003cem>One Heat Minute\u003c/em>'\u003c/h3>\n\u003cp>Initially skeptical that anyone outside of his personal circle of movie critic buddies would be into it, Howard drew from them for his first guests. The first 14 episodes were recorded in a single day, with all the same people, and the production values were low.\u003c/p>\n\u003cp>But remember: \u003cem>a lot of people really like\u003c/em> \"Heat.\" By the time I first spoke with him in 2018, Howard’s monomaniacal, homespun podcast had begun to draw listening numbers in the thousands — and his guest list had moved into the heavy-hitters. Critics like \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-89manohladargis\">Manohla Dargis\u003c/a> of the New York Times, \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-147\">Matt Zoller Sietz\u003c/a> of RoberEbert.com: all showing up, over Skype, to hear Howard intone \"This is 'One Heat Minute'\" and talk enthusiastically about nothing but \"Heat\" for well over an hour each.\u003c/p>\n\u003cfigure id=\"attachment_11796786\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png\" alt=\"\" width=\"1900\" height=\"1163\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-160x98.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-800x490.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-1020x624.png 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the \"Heat\" minutes progressed, and his podcast episodes climbed over 100, Howard started scoring guests who’d actually been involved in \u003cem>making\u003c/em> the movie. Like legendary cinematographer \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-100\">Dante Spinotti\u003c/a>, who’d created those shots that Howard had grown up imprinting on his brain, and editor \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-bonuspasqualebuba\">Pasquale “Pat” Buba\u003c/a>, who appeared on \"One Heat Minute\" before his death in September 2018. \u003c/p>\n\u003cp>“I was thrilled every single week to talk to every new person or sometimes repeat guests,” says Howard, “because they were just so great.”\u003c/p>\n\u003cp>After our first chat for KQED, I even joined Howard’s band of fanatics on \"One Heat Minute\" myself. That’s me on \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-148\">Episode 148\u003c/a> discussing the intricate progressions of Robert De Niro’s facial expressions. Coming off the Skype call with Howard, feeling almost drunk on the pleasures of discussing the minute details of a movie with which I’d been intimate since my teens, I was overwhelmed by how good such shared monomania could feel. I finally understood why he’d been able to secure so many guests.\u003c/p>\n\u003ch3>'All I Have is What I'm Going After'\u003c/h3>\n\u003cp>There was still that unfathomable dream in the back of Howard’s mind: scoring Michael Mann himself.\u003c/p>\n\u003cfigure id=\"attachment_11796575\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg\" alt=\"\" width=\"1900\" height=\"1410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-1020x757.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Director Michael Mann at the 2016 Academy Awards \u003ccite>( Jason Merritt / Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea that the award-winning director who made the movie that defined Howard’s entire life would even answer the phone — let alone sit down for an hour of taped conversation — still seemed crazy. Except for the fact that one of his \"One Heat Minute\" guests, \"Vulture\" critic Bilge Ebiri was on good terms with Mann — and was determined to lobby him on Howard’s behalf.\u003c/p>\n\u003cp>“I said ‘Even if he just knows about it, it would be great,’” says Howard. “But [Ebiri] is like ‘No: he's not only got to know about it, I'm going to tell him he has to do the show.”\u003c/p>\n\u003cp>Which is how, after much back-and-forth with the relevant representatives, on Episode 167, Michael Mann finally became Howard’s last \"One Heat Minute\" guest.\u003c/p>\n\u003ch3>'Very Flattered That You're Doing This'\u003c/h3>\n\u003cp>Were you nervous, I ask Howard? Knowing you had an hour with the man who’d made the movie that’s become the primary text of your life?\u003c/p>\n\u003cp>“In the \u003cem>before\u003c/em> moment, I was nervous,” he says. “I was mildly freaking out. But when we started talking I don't think I've ever been more confident in any interview that I've ever undertaken.”\u003c/p>\n\u003cp>“I was,” he reminds me, “the most prepared person to ever have a conversation about 'Heat' to Michael Mann.”\u003c/p>\n\u003cfigure id=\"attachment_11796573\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796573\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg\" alt=\"\" width=\"1900\" height=\"1277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-1020x686.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Val Kilmer in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you yourself \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-finale\">listen to the episode\u003c/a>, what will you hear? A famously obsessive filmmaker discussing his own movie \u003cem>about\u003c/em> obsessive men, with the guy who’s so obsessed with it that he’s based over 150 podcast episodes on it.\u003c/p>\n\u003cp>“I’m very flattered that you’re doing this,” are Mann’s first words in his episode, and you can hear the grin in his voice. When Howard asks about the director’s decision to appear on the podcast, the director explains that the whole endeavor \"sounded completely insane in a totally wonderful way.\"\u003c/p>\n\u003cp>On the subject of his work and his intentions, Mann is a serious, sincere interviewee who employs terms like “contrapuntal” when describing his cinematic output. “His recall for a movie that was made in 1995 and the character motivations and things that he'd had in mind for how that would look was just unbelievable,” notes Howard.\u003c/p>\n\u003cp>https://twitter.com/michaelmann/status/1147591432917487616?s=21\u003c/p>\n\u003cp>Yet in conversation, Mann’s sheer enthusiasm for movies, often overlooked amid his professional reputation as an extreme perfectionist, is also given free rein. Reminiscing about filming that powerful final \"Heat\" minute, where Pacino and De Niro’s characters face off in LAX and only one survives, Mann is uncharacteristically effusive: “It felt like ‘man, I don’t want to be anywhere else on Planet Earth at this moment in time but this set, making this movie.’”\u003c/p>\n\u003cp>In terms of dedication and enthusiasm, the award-winning longtime Hollywood director suddenly sounded a lot... like Howard himself.\u003c/p>\n\u003ch3>'Our Little Campfire'\u003c/h3>\n\u003cp>“I compliment your obsessions,” Mann told Howard in a message recorded for a \"One Heat Minute\" live show at the 2019 Sydney Film Festival.\u003c/p>\n\u003cp>“And from one of the most fastidious and obsessive filmmakers that has ever walked the face of the Earth to compliment your obsessions? That's pretty special,” says Howard. But after all that, where does obsession \u003cem>go\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796552\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png\" alt=\"\" width=\"1500\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-160x115.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-800x576.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-1020x734.png 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard, appropriately dressed in Val Kilmer \"Heat\" t-shirt \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the conclusion of \"One Heat Minute,\" Howard is making even more podcasts about movies, including \"All the President’s Men\" (\"All the Presidents Minutes\") and Mann’s own \"Last of the Mohicans\" (\"The Last Twelve Minutes of the Mohicans\").\u003c/p>\n\u003cp>Yet \"One Heat Minute\" remains the fan project that a lot of people in Hollywood now know about. “For my name to be now synonymous with this movie is probably one of my greatest ever accomplishments” says Howard.\u003c/p>\n\u003cp>https://twitter.com/realgdt/status/1143695297891176448?s=21\u003c/p>\n\u003cp>“Podcasts themselves are little campfires that you can sort of huddle around,” Howard says. “Hopefully our little campfire has brought a lot of people... joy following along.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" rel=\"noopener noreferrer\" target=\"_blank\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Back in 2018, I heard about a guy in Australia called Blake Howard — for the reason that he loved the same movie as me. A \u003cem>lot\u003c/em>.\u003c/p>\n\u003cp>The movie was Michael Mann’s 1995 crime thriller \u003ca href=\"https://www.imdb.com/title/tt0113277/\">\"Heat\"\u003c/a>. Yet unlike me, Howard loved it so much that he was obsessively making a podcast series analyzing the film one minute at a time, episode by episode — all 170 minutes of it. The podcast was called \u003ca href=\"https://oneheatminute.com/podcast\">\"One Heat Minute\u003c/a>\".\u003c/p>\n\u003cfigure id=\"attachment_11796549\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796549\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg\" alt=\"\" width=\"1500\" height=\"999\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/image-asset2-1020x679.jpg 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard at the 2019 Sydney Film Festival \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.theringer.com/2017/1/11/16043060/star-wars-minute-movies-by-minute-podcast-microculture-trend-7c45069cdb60\">Minute-by-minute movie podcasts\u003c/a> are nothing new, but I was so intrigued by Howard’s professional dedication to \"Heat,\" of all movies, that I \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">interviewed him in Sept., 2018\u003c/a>. We talked about both becoming obsessed with \"Heat\" as impressionable teens, podcasting’s ability to create community around extremely niche interests, and his wild fantasy that his cinematic idol, \"Heat\" director Mann, would one day be on \"One Heat Minute.\" We laughed about the sheer implausibility of that last idea, and I wrote up \u003ca href=\"https://www.kqed.org/arts/13839885/a-movie-minutely-examined-how-an-obsession-made-an-unusual-podcast\">our conversation\u003c/a> as a story about sincerity and obsession.\u003c/p>\n\u003cp>Now, at the end of his quest two years after he first started, \"One Heat Minute\" has spawned a \u003ca href=\"https://twitter.com/search?q=%23OneHeatMinute&src=typed_query\">hyper-enthusiastic online fan base\u003c/a>, been named in \"Vulture’s\" \u003ca href=\"https://www.vulture.com/article/best-podcasts.html\">100 Great Podcasts\u003c/a>, been \u003ca href=\"https://twitter.com/realgdt/status/1143695297891176448?s=21\">hailed by movie luminaries like Guillermo del Toro\u003c/a>, and welcomed its final guest... Michael Mann.\u003c/p>\n\u003cp>So now, \u003cem>this\u003c/em> is a story about sincerity, obsession and what happens when the usual gulf between famous creators and fandom gets unexpectedly obliterated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>'Clinically Obsessed'\u003c/h3>\n\u003cp>Even if you haven’t seen \"Heat,\" trust me: you probably still \u003cem>know\u003c/em> \"Heat.\" De Niro as a meticulous L.A. bank robber planning the heist of a lifetime, Al Pacino as a volatile cop consumed by taking him down — with a supporting cast stuffed with '90s A-listers from Val Kilmer and Tom Sizemore to Ashley Judd and Natalie Portman.\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/2GfZl4kuVNI'\n title='//www.youtube.com/embed/2GfZl4kuVNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Heat\" is also loud, bombastic and drips with machismo, and even a lifelong superfan like me can giggle at the riper portions of its dialogue (“For me, the action \u003cem>is\u003c/em> the juice!”) — or roll my eyes a little at how much less drawn the female roles (wives, girlfriends) seem in comparison to their male counterparts. Pacino's performance is infamously brash, and makes a lot more sense when you find out his character was \u003ca href=\"https://news.avclub.com/al-pacino-finally-admits-his-heat-character-was-high-on-1798251639\">meant to be high on cocaine\u003c/a>.\u003c/p>\n\u003cp>Yet as a portrait of a dark, dangerous L.A., and two men obsessed with their professions to the exclusion of all else in life, \"Heat\" radiates an unusual kind of ennui not often found in action movies. Its major themes are loss and loneliness, and moments such as Pacino’s confession to his soon-to-be-ex-wife — “All I have is what I’m going after” — take Mann’s movie to far more melancholic places than most thrillers. Added to its two iconic leads, this at least partly explains why \"Heat\" has developed something of a cult following in the quarter century since it was released.\u003c/p>\n\u003cp>Part of that following since he first saw it? Blake Howard. He describes himself as becoming “clinically obsessed with movies” in his youth, thanks in part to an older brother who worked in a video warehouse and would bring back the VHS spoils for Howard’s consumption. Among those videotapes was \"Heat.\"\u003c/p>\n\u003cfigure id=\"attachment_11796548\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796548\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg\" alt=\"\" width=\"1920\" height=\"1212\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-800x505.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/baby-blake-1020x644.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A young Blake Howard with sister Skye and brother Karn - the provider of his VHS collection. \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though it’s regarded as one of the quintessential Los Angeles movies, the version of the city a young Howard saw in this movie — the lonely industrial landscapes, the car culture, the endless roads — was one he hadn’t seen before. It was one that in many ways reminded him of his native Sydney. “This sprawling place... [that] felt so \u003cem>dilapidated\u003c/em>,” he says, “like it was empty.” And as Howard grew older he found \"Heat\" assuming a place in his life as a kind of cinematic life companion, welded to him by “existential and philosophical underpinnings that kind of enriched every viewing.”\u003c/p>\n\u003cp>Of all the movies in the world, a melancholy '90s crime thriller about obsession and alienation, set thousands of miles away, wouldn’t let him go. “I never could satiate the itch to continue talking about it,” he says — even as he became a part time movie critic himself.\u003c/p>\n\u003cfigure id=\"attachment_11796572\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11796572\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/thumb-1920-341563-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Al Pacino in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s why in 2017, Howard was affectionately goaded by fellow critic Stu Coote into realizing his dream to “just f****** talk about \"Heat\" every day” — and starting the \"One Heat Minute\" podcast. It was, Howard says, “the ultimate way to tackle and wrestle with this movie.”\u003c/p>\n\u003ch3>'This Is \u003cem>One Heat Minute\u003c/em>'\u003c/h3>\n\u003cp>Initially skeptical that anyone outside of his personal circle of movie critic buddies would be into it, Howard drew from them for his first guests. The first 14 episodes were recorded in a single day, with all the same people, and the production values were low.\u003c/p>\n\u003cp>But remember: \u003cem>a lot of people really like\u003c/em> \"Heat.\" By the time I first spoke with him in 2018, Howard’s monomaniacal, homespun podcast had begun to draw listening numbers in the thousands — and his guest list had moved into the heavy-hitters. Critics like \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-89manohladargis\">Manohla Dargis\u003c/a> of the New York Times, \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-147\">Matt Zoller Sietz\u003c/a> of RoberEbert.com: all showing up, over Skype, to hear Howard intone \"This is 'One Heat Minute'\" and talk enthusiastically about nothing but \"Heat\" for well over an hour each.\u003c/p>\n\u003cfigure id=\"attachment_11796786\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796786\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png\" alt=\"\" width=\"1900\" height=\"1163\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2.png 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-160x98.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-800x490.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/56be238ae2b49b2eaf4ce880ef7164d6-2-1020x624.png 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the \"Heat\" minutes progressed, and his podcast episodes climbed over 100, Howard started scoring guests who’d actually been involved in \u003cem>making\u003c/em> the movie. Like legendary cinematographer \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-episode-100\">Dante Spinotti\u003c/a>, who’d created those shots that Howard had grown up imprinting on his brain, and editor \u003ca href=\"https://oneheatminute.com/podcast/2017/10/23/one-heat-minute-bonuspasqualebuba\">Pasquale “Pat” Buba\u003c/a>, who appeared on \"One Heat Minute\" before his death in September 2018. \u003c/p>\n\u003cp>“I was thrilled every single week to talk to every new person or sometimes repeat guests,” says Howard, “because they were just so great.”\u003c/p>\n\u003cp>After our first chat for KQED, I even joined Howard’s band of fanatics on \"One Heat Minute\" myself. That’s me on \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-episode-148\">Episode 148\u003c/a> discussing the intricate progressions of Robert De Niro’s facial expressions. Coming off the Skype call with Howard, feeling almost drunk on the pleasures of discussing the minute details of a movie with which I’d been intimate since my teens, I was overwhelmed by how good such shared monomania could feel. I finally understood why he’d been able to secure so many guests.\u003c/p>\n\u003ch3>'All I Have is What I'm Going After'\u003c/h3>\n\u003cp>There was still that unfathomable dream in the back of Howard’s mind: scoring Michael Mann himself.\u003c/p>\n\u003cfigure id=\"attachment_11796575\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796575\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg\" alt=\"\" width=\"1900\" height=\"1410\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-160x119.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-800x594.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/GettyImages-513017606-1020x757.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Director Michael Mann at the 2016 Academy Awards \u003ccite>( Jason Merritt / Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea that the award-winning director who made the movie that defined Howard’s entire life would even answer the phone — let alone sit down for an hour of taped conversation — still seemed crazy. Except for the fact that one of his \"One Heat Minute\" guests, \"Vulture\" critic Bilge Ebiri was on good terms with Mann — and was determined to lobby him on Howard’s behalf.\u003c/p>\n\u003cp>“I said ‘Even if he just knows about it, it would be great,’” says Howard. “But [Ebiri] is like ‘No: he's not only got to know about it, I'm going to tell him he has to do the show.”\u003c/p>\n\u003cp>Which is how, after much back-and-forth with the relevant representatives, on Episode 167, Michael Mann finally became Howard’s last \"One Heat Minute\" guest.\u003c/p>\n\u003ch3>'Very Flattered That You're Doing This'\u003c/h3>\n\u003cp>Were you nervous, I ask Howard? Knowing you had an hour with the man who’d made the movie that’s become the primary text of your life?\u003c/p>\n\u003cp>“In the \u003cem>before\u003c/em> moment, I was nervous,” he says. “I was mildly freaking out. But when we started talking I don't think I've ever been more confident in any interview that I've ever undertaken.”\u003c/p>\n\u003cp>“I was,” he reminds me, “the most prepared person to ever have a conversation about 'Heat' to Michael Mann.”\u003c/p>\n\u003cfigure id=\"attachment_11796573\" class=\"wp-caption aligncenter\" style=\"max-width: 1900px\">\u003cimg class=\"size-full wp-image-11796573\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg\" alt=\"\" width=\"1900\" height=\"1277\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_.jpg 1900w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-160x108.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-800x538.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/MV5BMTc1NDg5MTMzOV5BMl5BanBnXkFtZTcwNjEzNzIwNA@@._V1_-1020x686.jpg 1020w\" sizes=\"(max-width: 1900px) 100vw, 1900px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Val Kilmer in \"Heat\" \u003ccite>(Warner Brothers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you yourself \u003ca href=\"https://oneheatminute.com/podcast/one-heat-minute-finale\">listen to the episode\u003c/a>, what will you hear? A famously obsessive filmmaker discussing his own movie \u003cem>about\u003c/em> obsessive men, with the guy who’s so obsessed with it that he’s based over 150 podcast episodes on it.\u003c/p>\n\u003cp>“I’m very flattered that you’re doing this,” are Mann’s first words in his episode, and you can hear the grin in his voice. When Howard asks about the director’s decision to appear on the podcast, the director explains that the whole endeavor \"sounded completely insane in a totally wonderful way.\"\u003c/p>\n\u003cp>On the subject of his work and his intentions, Mann is a serious, sincere interviewee who employs terms like “contrapuntal” when describing his cinematic output. “His recall for a movie that was made in 1995 and the character motivations and things that he'd had in mind for how that would look was just unbelievable,” notes Howard.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Yet in conversation, Mann’s sheer enthusiasm for movies, often overlooked amid his professional reputation as an extreme perfectionist, is also given free rein. Reminiscing about filming that powerful final \"Heat\" minute, where Pacino and De Niro’s characters face off in LAX and only one survives, Mann is uncharacteristically effusive: “It felt like ‘man, I don’t want to be anywhere else on Planet Earth at this moment in time but this set, making this movie.’”\u003c/p>\n\u003cp>In terms of dedication and enthusiasm, the award-winning longtime Hollywood director suddenly sounded a lot... like Howard himself.\u003c/p>\n\u003ch3>'Our Little Campfire'\u003c/h3>\n\u003cp>“I compliment your obsessions,” Mann told Howard in a message recorded for a \"One Heat Minute\" live show at the 2019 Sydney Film Festival.\u003c/p>\n\u003cp>“And from one of the most fastidious and obsessive filmmakers that has ever walked the face of the Earth to compliment your obsessions? That's pretty special,” says Howard. But after all that, where does obsession \u003cem>go\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_11796552\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg class=\"size-full wp-image-11796552\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png\" alt=\"\" width=\"1500\" height=\"1080\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee.png 1500w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-160x115.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-800x576.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/01/val-tee-1020x734.png 1020w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Blake Howard, appropriately dressed in Val Kilmer \"Heat\" t-shirt \u003ccite>(Blake Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the conclusion of \"One Heat Minute,\" Howard is making even more podcasts about movies, including \"All the President’s Men\" (\"All the Presidents Minutes\") and Mann’s own \"Last of the Mohicans\" (\"The Last Twelve Minutes of the Mohicans\").\u003c/p>\n\u003cp>Yet \"One Heat Minute\" remains the fan project that a lot of people in Hollywood now know about. “For my name to be now synonymous with this movie is probably one of my greatest ever accomplishments” says Howard.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Podcasts themselves are little campfires that you can sort of huddle around,” Howard says. “Hopefully our little campfire has brought a lot of people... joy following along.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Trump Impeachment Trial, Jerry Brown Podcast, MLK Speech",
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"content": "\u003cp>\u003cb>Impeachment Moves to U.S. Senate\u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">On Thursday, seven House Democrats walked to the U.S. Senate to hand deliver two articles of impeachment against President Trump. The articles were read aloud by California congressman Adam Schiff, one of the lawmakers selected by House Speaker Nancy Pelosi to manage and prosecute the case against the president. The trial is expected to start in earnest next week. But it’s unclear if the Republican-led chamber will vote to approve hearing from additional witnesses or consider new evidence. Also this week, six Democratic presidential candidates debated in Des Moines, Iowa, where in less than three weeks, primary voters will cast their ballots. Meanwhile, a new poll from the Public Policy Institute of California released this week shows Bernie Sanders with a slim lead over Joe Biden and Elizabeth Warren among likely primary voters in the Golden State. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Marisa Lagos, politics and government correspondent, KQED\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ron Elving, senior Washington correspondent, NPR\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>‘The Political Mind of Jerry Brown’ \u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">Few politicians have had such an enduring impact on California as Jerry Brown. He’s the longest serving governor in California history, serving a total of four terms, starting with his election in 1974 when he was just 36 years old. Brown was also mayor of Oakland, a state attorney general and a three-time presidential candidate, in his roughly 50-year political career. Now, a new KQED podcast explores his remarkable life and political thinking through dozens of hours of interviews recorded with the iconic leader and those who know him best. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Guy Marzorati, politics and government reporter, KQED\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Newly Discovered Recording of Anti-Vietnam War MLK Speech\u003c/b>\u003cbr>\n\u003cspan style=\"font-weight: 400\">On Monday, the nation will observe Martin Luther King Jr. Day. The slain civil rights leader would have turned 91 this past Wednesday. In 1967, exactly one year before his assassination in Memphis, as protests against the Vietnam War gripped the nation, King delivered a speech at the Riverside Church in New York City. He explained why he opposed the war, such as the devastating toll it was taking on poor black communities. Now, more than 50 years later, a newly discovered recording of King’s “Beyond Vietnam” speech has been discovered and made publicly available for a new generation to hear. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Professor Clayborne Carson, director, The Martin Luther King, Jr. Research and Education Institute at Stanford University\u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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