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"content": "\u003cp>On stage, it’s the year 1981. A huddle of nerve-wracked teens waits to hear if state lawmakers will vote to pass \u003ca href=\"https://books.google.com/books?id=CBNWVWxKWgkC&pg=RA21-PA1&lpg=RA21-PA1&dq=Assembly+Bill+312+martin+luther+king+california&source=bl&ots=3WhsPPgZot&sig=ACfU3U0aa_t-CbUpXmCApmulIuw07MKNAw&hl=en&sa=X&ved=2ahUKEwjU7saj0IvnAhX2CjQIHVtqC1kQ6AEwAnoECAoQAQ#v=onepage&q=Assembly%20Bill%20312%20martin%20luther%20king%20california&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Assembly Bill 312\u003c/a>, the piece of legislation they’ve spent the last three years fighting for.\u003c/p>\n\u003cp>The votes come down in a cascade of “yays” and “nays,” as tense piano music bubbles underneath.\u003c/p>\n\u003cp>“It’s close. Shoot! It could go either way,” says one student, in a state of high anxiety.\u003c/p>\n\u003cp>This is “The Apollos,” a new play written, produced and performed by students from \u003ca href=\"https://oaklandtech.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Technical High School \u003c/a>under the guidance of their drama teacher Ena Dallas. It’s based on the real-life story of an earlier generation of Oakland Tech students, who campaigned hard almost four decades ago to get Martin Luther King Jr. Day recognized as a California holiday — several years before the national holiday was signed into law in 1983.\u003c/p>\n\u003cfigure id=\"attachment_11796642\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/2020/01/17/oakland-tech-high-school-honors-its-own-role-in-mlk-day-40-years-on/rs40751_danae-thornton-and-karen-kennedy-qut/\" rel=\"attachment wp-att-11796642\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11796642\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut.jpg\" alt='Oakland tech student actor Danae Thornton (left) plays the real-life Apollo Karen Kennedy in \"The Apollos\".' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-536x402.jpg 536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Tech student actor Danae Thornton (left) plays the real-life Apollo Karen Kennedy in “The Apollos.” \u003ccite>(Ena Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That class of students called themselves “The Apollos” after the NASA space program.\u003c/p>\n\u003cp>“Which means, ‘We who reach for the stars,’ ” says Karen Kennedy, one of the core group of five students who led the charge under the supervision of their teacher, Tay McArthur.\u003c/p>\n\u003cp>[aside postID='news_11796656,news_11796439' label='Martin Luther King Jr.']Kennedy, now a retired teacher herself, says the idea to push for the holiday came up one day in McArthur’s government class. It was 1978, and the students were learning about the legislative process.\u003c/p>\n\u003cp>“Mr. McArthur was going on with his long, long lectures,” Kennedy says. “And one of the questions came up was, ‘Why isn’t there a holiday for any people of color?'”\u003c/p>\n\u003cp>McArthur remembers it being a chance for the students to learn a real life lesson. “The students asked, ‘What would it take to make it happen for the state?’ ” says McArthur now. “And I said, ‘Open your books up to the page on how a bill becomes a law.’ I said, ‘This is what is required. It’s not easy.’ ”\u003c/p>\n\u003cp>The conversation sent Kennedy and her fellow Apollos on a long and challenging journey, driven by their desire to honor Martin Luther King Jr., who was assassinated a decade earlier.\u003c/p>\n\u003cp>“There weren’t very many African American figures to look up to that were strong leaders,” Kennedy says. “And he was one of the main positive role models in our time.”\u003c/p>\n\u003cfigure id=\"attachment_11796634\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11796634\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40754_Tay-McArthur-qut.jpg\" alt=\"Oakland Tech teacher Tay McArthur\" width=\"425\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40754_Tay-McArthur-qut.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40754_Tay-McArthur-qut-160x110.jpg 160w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Tech teacher Tay McArthur \u003ccite>(Oakland Technical High School)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Apollos spent the next three years writing letters to lawmakers, knocking on doors to drum up signatures for their petition and making many, many early morning trips to Sacramento in McArthur’s car.\u003c/p>\n\u003cp>“He even had his license plate named ‘The Apollos,’ ” Kennedy says.\u003c/p>\n\u003cp>Some politicians were receptive to the teenage lobbyists. But others pushed back. “Every time we made a positive gain, there was a setback,” she says. “But we never gave up.”\u003c/p>\n\u003cp>Besides being a lesson in the legislative process, McArthur also remembers how much it meant for the students to feel so empowered.\u003c/p>\n\u003cp>“When the bill passed, they shrieked and cried,” McArthur says. “Those 16, 17 and 18 year olds had power they never dreamed of. That’s a biggie. They had so much satisfaction.”\u003c/p>\n\u003cp>Forty years later, the current crop of Oakland Tech students are carrying on their spirit both on stage and off.\u003c/p>\n\u003cp>Senior Samuel Getachew, who co-wrote the new play and also performs in it, says Oakland Tech has a long history of student activism.\u003c/p>\n\u003cfigure id=\"attachment_11796632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/2020/01/17/oakland-tech-high-school-honors-its-own-role-in-mlk-day-40-years-on/rs40757_the-apollos-scene-3-qut/\" rel=\"attachment wp-att-11796632\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11796632\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut.jpg\" alt='The lead actors in \"The Apollos\", a new play written, performed and produced by Oakland Technical High School students.' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-536x402.jpg 536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The lead actors in “The Apollos,” a new play written, performed and produced by Oakland Technical High School students. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Huey P. Newton, one of the founders of the Black Panther Party, went here,” he says. “We’ve always loved a good protest.”\u003c/p>\n\u003cp>Getachew is also a proud activist.\u003c/p>\n\u003cp>“In my sophomore year, I was one of the lead organizers for a walkout in solidarity with the students from the Parkland shooting,” he says, reeling off a list of actions he’s undertaken. “We organized a voter registration drive in Tracy, California, which is a swing district for the upcoming midterm election.”\u003c/p>\n\u003cp>Getachew hopes his fellow students will find The Apollos’ story as much of a call to action as he does.\u003c/p>\n\u003cp>“Mr. McArthur always taught his students that there was no excuse that lay in their age for them being unable to do what they wanted to do,” he says. “And I want the parents in the audience to know their kids are more capable than they may think.”\u003c/p>\n\u003cp>\u003cem>“The Apollos” plays at Oakland Technical High School through Sunday, Jan 19. Tickets and information \u003ca href=\"https://m.bpt.me/event/4493246\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.sos.ca.gov/archives/\" target=\"_blank\" rel=\"noopener noreferrer\">California State Archives\u003c/a> contributed sourcing for this story.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On stage, it’s the year 1981. A huddle of nerve-wracked teens waits to hear if state lawmakers will vote to pass \u003ca href=\"https://books.google.com/books?id=CBNWVWxKWgkC&pg=RA21-PA1&lpg=RA21-PA1&dq=Assembly+Bill+312+martin+luther+king+california&source=bl&ots=3WhsPPgZot&sig=ACfU3U0aa_t-CbUpXmCApmulIuw07MKNAw&hl=en&sa=X&ved=2ahUKEwjU7saj0IvnAhX2CjQIHVtqC1kQ6AEwAnoECAoQAQ#v=onepage&q=Assembly%20Bill%20312%20martin%20luther%20king%20california&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Assembly Bill 312\u003c/a>, the piece of legislation they’ve spent the last three years fighting for.\u003c/p>\n\u003cp>The votes come down in a cascade of “yays” and “nays,” as tense piano music bubbles underneath.\u003c/p>\n\u003cp>“It’s close. Shoot! It could go either way,” says one student, in a state of high anxiety.\u003c/p>\n\u003cp>This is “The Apollos,” a new play written, produced and performed by students from \u003ca href=\"https://oaklandtech.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Technical High School \u003c/a>under the guidance of their drama teacher Ena Dallas. It’s based on the real-life story of an earlier generation of Oakland Tech students, who campaigned hard almost four decades ago to get Martin Luther King Jr. Day recognized as a California holiday — several years before the national holiday was signed into law in 1983.\u003c/p>\n\u003cfigure id=\"attachment_11796642\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/2020/01/17/oakland-tech-high-school-honors-its-own-role-in-mlk-day-40-years-on/rs40751_danae-thornton-and-karen-kennedy-qut/\" rel=\"attachment wp-att-11796642\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11796642\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut.jpg\" alt='Oakland tech student actor Danae Thornton (left) plays the real-life Apollo Karen Kennedy in \"The Apollos\".' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40751_Danae-Thornton-and-Karen-Kennedy-qut-536x402.jpg 536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Tech student actor Danae Thornton (left) plays the real-life Apollo Karen Kennedy in “The Apollos.” \u003ccite>(Ena Dallas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That class of students called themselves “The Apollos” after the NASA space program.\u003c/p>\n\u003cp>“Which means, ‘We who reach for the stars,’ ” says Karen Kennedy, one of the core group of five students who led the charge under the supervision of their teacher, Tay McArthur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kennedy, now a retired teacher herself, says the idea to push for the holiday came up one day in McArthur’s government class. It was 1978, and the students were learning about the legislative process.\u003c/p>\n\u003cp>“Mr. McArthur was going on with his long, long lectures,” Kennedy says. “And one of the questions came up was, ‘Why isn’t there a holiday for any people of color?'”\u003c/p>\n\u003cp>McArthur remembers it being a chance for the students to learn a real life lesson. “The students asked, ‘What would it take to make it happen for the state?’ ” says McArthur now. “And I said, ‘Open your books up to the page on how a bill becomes a law.’ I said, ‘This is what is required. It’s not easy.’ ”\u003c/p>\n\u003cp>The conversation sent Kennedy and her fellow Apollos on a long and challenging journey, driven by their desire to honor Martin Luther King Jr., who was assassinated a decade earlier.\u003c/p>\n\u003cp>“There weren’t very many African American figures to look up to that were strong leaders,” Kennedy says. “And he was one of the main positive role models in our time.”\u003c/p>\n\u003cfigure id=\"attachment_11796634\" class=\"wp-caption alignright\" style=\"max-width: 425px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11796634\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40754_Tay-McArthur-qut.jpg\" alt=\"Oakland Tech teacher Tay McArthur\" width=\"425\" height=\"292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40754_Tay-McArthur-qut.jpg 425w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40754_Tay-McArthur-qut-160x110.jpg 160w\" sizes=\"auto, (max-width: 425px) 100vw, 425px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Tech teacher Tay McArthur \u003ccite>(Oakland Technical High School)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Apollos spent the next three years writing letters to lawmakers, knocking on doors to drum up signatures for their petition and making many, many early morning trips to Sacramento in McArthur’s car.\u003c/p>\n\u003cp>“He even had his license plate named ‘The Apollos,’ ” Kennedy says.\u003c/p>\n\u003cp>Some politicians were receptive to the teenage lobbyists. But others pushed back. “Every time we made a positive gain, there was a setback,” she says. “But we never gave up.”\u003c/p>\n\u003cp>Besides being a lesson in the legislative process, McArthur also remembers how much it meant for the students to feel so empowered.\u003c/p>\n\u003cp>“When the bill passed, they shrieked and cried,” McArthur says. “Those 16, 17 and 18 year olds had power they never dreamed of. That’s a biggie. They had so much satisfaction.”\u003c/p>\n\u003cp>Forty years later, the current crop of Oakland Tech students are carrying on their spirit both on stage and off.\u003c/p>\n\u003cp>Senior Samuel Getachew, who co-wrote the new play and also performs in it, says Oakland Tech has a long history of student activism.\u003c/p>\n\u003cfigure id=\"attachment_11796632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://ww2.kqed.org/news/2020/01/17/oakland-tech-high-school-honors-its-own-role-in-mlk-day-40-years-on/rs40757_the-apollos-scene-3-qut/\" rel=\"attachment wp-att-11796632\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11796632\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut.jpg\" alt='The lead actors in \"The Apollos\", a new play written, performed and produced by Oakland Technical High School students.' width=\"1920\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40757_The-Apollos-scene-3-qut-536x402.jpg 536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The lead actors in “The Apollos,” a new play written, performed and produced by Oakland Technical High School students. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Huey P. Newton, one of the founders of the Black Panther Party, went here,” he says. “We’ve always loved a good protest.”\u003c/p>\n\u003cp>Getachew is also a proud activist.\u003c/p>\n\u003cp>“In my sophomore year, I was one of the lead organizers for a walkout in solidarity with the students from the Parkland shooting,” he says, reeling off a list of actions he’s undertaken. “We organized a voter registration drive in Tracy, California, which is a swing district for the upcoming midterm election.”\u003c/p>\n\u003cp>Getachew hopes his fellow students will find The Apollos’ story as much of a call to action as he does.\u003c/p>\n\u003cp>“Mr. McArthur always taught his students that there was no excuse that lay in their age for them being unable to do what they wanted to do,” he says. “And I want the parents in the audience to know their kids are more capable than they may think.”\u003c/p>\n\u003cp>\u003cem>“The Apollos” plays at Oakland Technical High School through Sunday, Jan 19. Tickets and information \u003ca href=\"https://m.bpt.me/event/4493246\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.sos.ca.gov/archives/\" target=\"_blank\" rel=\"noopener noreferrer\">California State Archives\u003c/a> contributed sourcing for this story.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>To honor Martin Luther King Jr.'s legacy, we're resurfacing footage of his last large-scale address in the Bay Area.\u003c/p>\n\u003cp>Seven thousand people surrounded the stage to hear King's anti-war speech at UC Berkeley's Sproul Plaza on May 17, 1967. Speaking a few years after the passage of the Civil Rights and Voting Rights Acts, he talked about the need for a \"revolution of values,\" including a radical redistribution of economic wealth and political power.\u003c/p>\n\u003cp>Looking out into the crowd of students — some sitting in trees, others crowded against the podium — he expressed his appreciation for the university's support of the civil rights movement.\u003c/p>\n\u003cp>\"Somehow I still have faith that keeps me going through these difficult days. ... I'll tell you why I have the faith, and it is because of universities like this where thousands of young people, black and white, who have the new vision that we need in this age,\" King said near the end of his speech. \"And so I can still sing 'We shall overcome.' I know many can't sing it now, but I can still sing it because I believe the arc of the moral universe is long but it bends towards justice.\"\u003c/p>\n\u003cp>\u003cem>KQED does not own the rights to the audio of this footage. You can view the entire speech \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/231146\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To honor Martin Luther King Jr.'s legacy, we're resurfacing footage of his last large-scale address in the Bay Area.\u003c/p>\n\u003cp>Seven thousand people surrounded the stage to hear King's anti-war speech at UC Berkeley's Sproul Plaza on May 17, 1967. Speaking a few years after the passage of the Civil Rights and Voting Rights Acts, he talked about the need for a \"revolution of values,\" including a radical redistribution of economic wealth and political power.\u003c/p>\n\u003cp>Looking out into the crowd of students — some sitting in trees, others crowded against the podium — he expressed his appreciation for the university's support of the civil rights movement.\u003c/p>\n\u003cp>\"Somehow I still have faith that keeps me going through these difficult days. ... I'll tell you why I have the faith, and it is because of universities like this where thousands of young people, black and white, who have the new vision that we need in this age,\" King said near the end of his speech. \"And so I can still sing 'We shall overcome.' I know many can't sing it now, but I can still sing it because I believe the arc of the moral universe is long but it bends towards justice.\"\u003c/p>\n\u003cp>\u003cem>KQED does not own the rights to the audio of this footage. You can view the entire speech \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/231146\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Frida Kahlo is everywhere. The iconic Mexican artist’s defiant red-painted lips, knowing gaze and proudly worn unibrow framed by serpentine braids can be seen on the front of countless mugs, socks, key rings, mouse pads and pieces of jewelry.\u003c/p>\n\u003cp>Makers sell these products in stores and on websites like \u003ca href=\"https://www.etsy.com/search?q=frida%20kahlo\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy\u003c/a>, where the search term “Frida Kahlo” brings up nearly 20,000 results.\u003c/p>\n\u003cp>But the Frida Kahlo brand is big business, too. Multinational corporations like Mattel and Converse are also cashing in on the iconic artist, marketing products like the \u003ca href=\"https://barbie.mattel.com/shop/en-us/ba/inspiring-women-series/barbie-inspiring-women-series-frida-kahlo-doll-fjh65\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Barbie doll\u003c/a> and \u003ca href=\"https://www.facebook.com/watch/?v=2133795450259477\" target=\"_blank\" rel=\"noopener noreferrer\">Frida sneakers\u003c/a>, respectively.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1XPZW7KlP-I\u003c/p>\n\u003cp>And now, some small-scale artisans are finding themselves in a head-to-head fight against those corporations, a confrontation that raises complex questions about ownership of cultural heroes in the digital age.\u003c/p>\n\u003cp>One of these artists is \u003ca href=\"https://www.facebook.com/crismeloearth/\" target=\"_blank\" rel=\"noopener noreferrer\">Cris Melo\u003c/a>. The Brazilian-born painter lives in Nice, a small town in Lake County, and has been making whimsical portraits inspired by Frida Kahlo’s image for the past 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11795172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11795172 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Cris Melo’s Frida Kahlo-inspired paintings \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melo says she isn’t a particularly religious person. But she feels very attached to Kahlo and sometimes even offers up a prayer to her.\u003c/p>\n\u003cp>“I tell her, I’m not doing this for me. I’m doing this for you,” she says. “So stand with me. Hold my hand. Because it’s scary.”\u003c/p>\n\u003cp>Melo is timid and elfin, with dark eyes and a wide, expressive mouth. She certainly doesn’t look like the type of person who’d launch legal proceedings against a powerful corporation. Yet she’s suing the company that claims to own the Frida Kahlo brand.\u003c/p>\n\u003ch3>Making an Icon\u003c/h3>\n\u003cp>Though the Mexican government has declared Kahlo’s works part of the country’s national heritage, and people \u003ca href=\"https://artdaily.cc/news/39818/Visitors-Wait-in-Line-for-Seven-Hours-to-See-Frida-Kahlo-Exhibition-in-Berlin\" target=\"_blank\" rel=\"noopener noreferrer\">wait in line for hours\u003c/a> to see exhibitions of the artist’s work at major museums around the world, she wasn’t at all well-known during her lifetime.\u003c/p>\n\u003cp>Kahlo spent years living in the shadow of her husband, the monumental Mexican muralist \u003ca href=\"https://www.moma.org/artists/4942\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Rivera\u003c/a>. It wasn’t until the 1970s, more than 20 years after her death, that Kahlo biographies began to appear, lifting her out of obscurity.\u003c/p>\n\u003cfigure id=\"attachment_11795363\" class=\"wp-caption alignright\" style=\"max-width: 314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11795363\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40715_Frida_Kahlo_Diego_Rivera_1932-qut.jpg\" alt=\"\" width=\"314\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40715_Frida_Kahlo_Diego_Rivera_1932-qut.jpg 314w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40715_Frida_Kahlo_Diego_Rivera_1932-qut-160x207.jpg 160w\" sizes=\"(max-width: 314px) 100vw, 314px\">\u003cfigcaption class=\"wp-caption-text\">Frida Kahlo and her husband Diego Rivera \u003ccite>(Carl Van Vechten / Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her paintings started to fetch millions of dollars at auctions. Then, in 2002, came the release of the \u003ca href=\"https://youtu.be/uOUzQYqba4Y\" target=\"_blank\" rel=\"noopener noreferrer\">“Frida” biopic\u003c/a>, starring Salma Hayek.\u003c/p>\n\u003cp>The movie helped amplify the Kahlo brand; it became synonymous with feminine strength in the face of adversity, as well as outsider-underdog power.\u003c/p>\n\u003cp>“She was a female artist, and Mexican, dark-skinned, disabled and queer,” says Circe Henestrosa, curator of a \u003ca href=\"https://deyoung.famsf.org/press-room/frida-kahlo-appearances-can-be-deceiving\" target=\"_blank\" rel=\"noopener noreferrer\">major Kahlo exhibition\u003c/a> traveling to San Francisco’s de Young Museum in March. “Frida’s persona and ethos represents and gives hope and a voice to all these different, diverse groups.”\u003c/p>\n\u003ch3>The Big Business\u003c/h3>\n\u003cp>Even before the movie came out, Melo was among the many artists who not only identified with Kahlo, but also found a way to capitalize on all the Fridamania. In 2001, after noticing Kahlo-inspired products on eBay, Melo set up her own online storefront, featuring her Kahlo-like paintings printed on a range of everyday goods, like magnets, T-shirts and tote bags.\u003c/p>\n\u003cp>“I mean, I would refresh the computer every time and there would be a new bid,” Melo says. “It was amazing. It was so good.”\u003c/p>\n\u003cp>But then something changed.\u003c/p>\n\u003cp>Around 2004, Carlos Dorado, a Venezuelan businessman, also saw a big economic opportunity.\u003c/p>\n\u003cp>Dorado teamed up with the artist’s niece, Isolda Pinedo Kahlo, and eventually her daughter, to launch the \u003ca href=\"https://fridakahlocorporation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo Corporation\u003c/a> (FKC), which registered dozens of Kahlo-related trademarks and set about licensing a pile of merchandise.\u003c/p>\n\u003cp>FKC’s portfolio includes products like \u003ca href=\"http://www.dpsons.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo tequila\u003c/a>, \u003ca href=\"https://www.ulta.com/frida-kahlo-by-ulta-beauty-signature-box?productId=pimprod2007518\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo makeup\u003c/a>, \u003ca href=\"https://www.sassandbelle.co.uk/search-results/?pricelistid=6&sessionid=63231241&searchterm_submit=go&searchterm=frida+tweezers\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo Tweezers\u003c/a> — an odd choice given the artist’s iconic unibrow — and the aforementioned Barbie doll and Converse sneakers.\u003c/p>\n\u003cp>“It’s an honor to have a piece of Frida Kahlo that will inspire you day-to-day,” FKC spokeswoman Beatriz Alvarado told NPR \u003ca href=\"https://www.npr.org/2018/06/02/616129555/as-mexico-capitalizes-on-her-image-has-frida-kahlo-become-over-commercialized\" target=\"_blank\" rel=\"noopener noreferrer\">in a 2018\u003c/a> interview about the Kahlo Barbie.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Cris Melo']‘We have been selling Frida all these years with no problem. And now they want us to pay them to sell Fridas. This is our work. We don’t have to.’[/pullquote]While the company was making mega-deals with the likes of Mattel, they were also trying to get individual artists like Melo to pay them for the right to sell their Kahlo-inspired art online by entering into licensing partnerships with online marketplaces.\u003c/p>\n\u003cp>Alvarado declined to speak directly with KQED for this story, though she did respond to a some questions by email.\u003c/p>\n\u003cp>“FKC has a legal obligation to police its trademarks,” Alvarado said in her email. “Otherwise, FKC will lose its trademark rights.”\u003c/p>\n\u003ch3>Takedown Troubles\u003c/h3>\n\u003cp>That didn’t sit well with Melo.\u003c/p>\n\u003cp>“We have been selling Frida all these years with no problem,” she says. “And now they want us to pay them to sell Fridas. This is our work. We don’t have to.”\u003c/p>\n\u003cp>So she ignored payment-request notices from the company. But in October 2011, she received a message from \u003ca href=\"https://www.zazzle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zazzle\u003c/a>, one of the online marketplaces where she sells her work, concerning a Kahlo-inspired greeting card she had displayed on the site.\u003c/p>\n\u003cfigure id=\"attachment_11795367\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11795367\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40716_zazzle-qut-800x757.jpg\" alt=\"\" width=\"800\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-800x757.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-1020x965.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-1200x1136.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut.jpg 1232w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cris Melo’s first takedown notice from Zazzle. \u003ccite>(Screenshot from Zazzle website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They sent me an email saying that I was violating trademarks, and they were going to take it down,” she says.\u003c/p>\n\u003cp>This was the first of many such emails, promptly followed by takedowns. But only some of her Kahlo-centric creations were being removed, which Melo says seemed frustratingly arbitrary.\u003c/p>\n\u003cp>“I was mad from the get go,” she says.\u003c/p>\n\u003cp>It wasn’t just Melo’s finances that took a hit. Her health did, too. She felt depressed and helpless.\u003c/p>\n\u003cp>“I stopped painting Frida for a while,” she says. “Because if this is going to be happening, why am I going to paint more?”\u003c/p>\n\u003cp>Melo’s situation was far from unique. On social media, she discovered many other artists dealing with similar frustrations.\u003c/p>\n\u003cp>Alvarado, the FKC representative, in an email said her company’s mission is to “protect the Frida Kahlo legacy.” And she denied taking artists’ work down.\u003c/p>\n\u003cp>Technically that’s true.\u003c/p>\n\u003cp>FKC doesn’t do the takedowns directly. The company uses a “brand protection agency” called \u003ca href=\"https://www.redpoints.com/?utm_source=google&utm_medium=cpc&utm_campaign=us-bus-001&utm_content=redpoints-branding&utm_term=red%20points&gclid=CjwKCAiAu9vwBRAEEiwAzvjq-8Vb8OB0SOeh4RUgvXMtSisdMB1OMbA8C0xG3gugn-6OPSWXAcZEUxoCv4YQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Points\u003c/a> to scout the web for potential trademark violations. Its technology then alerts popular online artisan marketplaces like Zazzle and \u003ca href=\"https://www.redbubble.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Redbubble\u003c/a> when it identifies red flags. And then those sites take the work down.\u003c/p>\n\u003cp>“We’re not in a position to be the legal arbiter on the platform,” says Redbubble CEO Barry Newstead, adding that he trusts rights holders like FKC to do their due diligence. “It is their responsibility to ensure that they are actually, you know, requesting stuff to be taken down that is is actually infringing,” he says.\u003c/p>\n\u003ch3>Taking It to the Courthouse\u003c/h3>\n\u003cp>But sometimes the technology takes content down that’s not actually an infringement.\u003c/p>\n\u003cp>FKC does not own all things Frida Kahlo — just material in the product lines that they’ve trademarked. And that doesn’t necessarily include work by Melo and other artists.\u003c/p>\n\u003cp>That’s why Melo is now \u003ca href=\"https://dockets.justia.com/docket/california/candce/3:2019cv05449/347489\" target=\"_blank\" rel=\"noopener noreferrer\">suing FKC in federal court \u003c/a>in San Francisco, alleging that using the name “Frida Kahlo” to describe her paintings of the artist does not infringe on any of the company’s ownership rights.\u003c/p>\n\u003cp>“These are my images from my imagination,” Melo says. “I’m painting a public figure. I don’t know what I’m doing wrong.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_cbJlpO4JiA\u003c/p>\n\u003cp>And, in fact, FKC agrees — sort of. In legal documents, the company acknowledged that Melo’s work was removed in error and was then promptly reinstated. But it then changed its position, arguing that some of the takedowns may have been legally justifiable. Regardless, Melo says she is still receiving takedown notices.\u003c/p>\n\u003cp>“Sometimes, in the course of policing unauthorized use of FKC’s trademarks, Red Points may accidentally capture non-infringing use of the Frida Kahlo brand by artists that are describing their artwork,” FKC’s Alvarado said in an email. “The Frida Kahlo Corporation has always been willing to work with these listings to have them modified and adapted to honor Frida Kahlo without infringing FKC’s trademark rights.”\u003c/p>\n\u003ch3>Celebrity Brands\u003c/h3>\n\u003cp>Many celebrities, both living and deceased, are at the center of squabbles over unauthorized commercial uses of their brands. Besides Kahlo, there have been disputes in recent years involving actor Humphrey Bogart, civil rights activist Rosa Parks and graffiti artist Banksy, to name but three.\u003c/p>\n\u003cp>The proliferation of cases isn’t surprising. Many celebrity brands, from Marilyn Monroe to Bob Marley, are \u003ca href=\"https://www.forbes.com/sites/steveolenski/2017/06/12/the-branding-of-dead-celebrities/#7f960b8d6d80\" target=\"_blank\" rel=\"noopener noreferrer\">worth tens of millions of dollars\u003c/a>. And the laws governing intellectual property are complex and often exceedingly difficult to understand.\u003c/p>\n\u003cp>But some legal observers say Melo’s case points to a larger issue.\u003c/p>\n\u003cp>“It really highlights the fact that small artists, they’re held captive to online marketplaces, and that corporations, such as the Frida Kahlo Corporation, can send numerous and maybe improper takedown notices without much oversight from the platform,” says Louise Carron, who runs the \u003ca href=\"https://itsartlaw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Art Law\u003c/a>, a research and education nonprofit based in New York.\u003c/p>\n\u003cp>“I think one of the most important issues raised by this case is a general trend towards trying to commercialize and own famous people and historical public figures,” adds Jennifer Rothman, professor of law at \u003ca href=\"https://www.lls.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Loyola Law School\u003c/a> in Los Angeles. “And that raises some very complicated questions about what limits there are on the public’s ability to engage with these people, as well as for artists to refer to them.”\u003c/p>\n\u003cp>That’s why some artists like Melo are testing that power in the courts, in an effort to continue pursuing their livelihoods and keep important public figures, like Frida Kahlo, within the public realm.\u003c/p>\n\u003cp>A federal judge will hear Melo’s case at the end of the month and decide whether to throw the case out or force FKC to stop its agents from issuing takedown notices to Melo.\u003c/p>\n\u003cp>“What I would like as an artist is for us to go back to being able to paint Frida and sell her just the way we did before the Frida Kahlo Corporation was formed,” Melo says. “I just want us to be free to continue doing what we did without harassment.”\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>Frida Kahlo is everywhere. The iconic Mexican artist’s defiant red-painted lips, knowing gaze and proudly worn unibrow framed by serpentine braids can be seen on the front of countless mugs, socks, key rings, mouse pads and pieces of jewelry.\u003c/p>\n\u003cp>Makers sell these products in stores and on websites like \u003ca href=\"https://www.etsy.com/search?q=frida%20kahlo\" target=\"_blank\" rel=\"noopener noreferrer\">Etsy\u003c/a>, where the search term “Frida Kahlo” brings up nearly 20,000 results.\u003c/p>\n\u003cp>But the Frida Kahlo brand is big business, too. Multinational corporations like Mattel and Converse are also cashing in on the iconic artist, marketing products like the \u003ca href=\"https://barbie.mattel.com/shop/en-us/ba/inspiring-women-series/barbie-inspiring-women-series-frida-kahlo-doll-fjh65\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Barbie doll\u003c/a> and \u003ca href=\"https://www.facebook.com/watch/?v=2133795450259477\" target=\"_blank\" rel=\"noopener noreferrer\">Frida sneakers\u003c/a>, respectively.\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/1XPZW7KlP-I'\n title='//www.youtube.com/embed/1XPZW7KlP-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And now, some small-scale artisans are finding themselves in a head-to-head fight against those corporations, a confrontation that raises complex questions about ownership of cultural heroes in the digital age.\u003c/p>\n\u003cp>One of these artists is \u003ca href=\"https://www.facebook.com/crismeloearth/\" target=\"_blank\" rel=\"noopener noreferrer\">Cris Melo\u003c/a>. The Brazilian-born painter lives in Nice, a small town in Lake County, and has been making whimsical portraits inspired by Frida Kahlo’s image for the past 20 years.\u003c/p>\n\u003cfigure id=\"attachment_11795172\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11795172 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40660_frida-art-by-cris-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selection of Cris Melo’s Frida Kahlo-inspired paintings \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Melo says she isn’t a particularly religious person. But she feels very attached to Kahlo and sometimes even offers up a prayer to her.\u003c/p>\n\u003cp>“I tell her, I’m not doing this for me. I’m doing this for you,” she says. “So stand with me. Hold my hand. Because it’s scary.”\u003c/p>\n\u003cp>Melo is timid and elfin, with dark eyes and a wide, expressive mouth. She certainly doesn’t look like the type of person who’d launch legal proceedings against a powerful corporation. Yet she’s suing the company that claims to own the Frida Kahlo brand.\u003c/p>\n\u003ch3>Making an Icon\u003c/h3>\n\u003cp>Though the Mexican government has declared Kahlo’s works part of the country’s national heritage, and people \u003ca href=\"https://artdaily.cc/news/39818/Visitors-Wait-in-Line-for-Seven-Hours-to-See-Frida-Kahlo-Exhibition-in-Berlin\" target=\"_blank\" rel=\"noopener noreferrer\">wait in line for hours\u003c/a> to see exhibitions of the artist’s work at major museums around the world, she wasn’t at all well-known during her lifetime.\u003c/p>\n\u003cp>Kahlo spent years living in the shadow of her husband, the monumental Mexican muralist \u003ca href=\"https://www.moma.org/artists/4942\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Rivera\u003c/a>. It wasn’t until the 1970s, more than 20 years after her death, that Kahlo biographies began to appear, lifting her out of obscurity.\u003c/p>\n\u003cfigure id=\"attachment_11795363\" class=\"wp-caption alignright\" style=\"max-width: 314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11795363\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40715_Frida_Kahlo_Diego_Rivera_1932-qut.jpg\" alt=\"\" width=\"314\" height=\"407\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40715_Frida_Kahlo_Diego_Rivera_1932-qut.jpg 314w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40715_Frida_Kahlo_Diego_Rivera_1932-qut-160x207.jpg 160w\" sizes=\"(max-width: 314px) 100vw, 314px\">\u003cfigcaption class=\"wp-caption-text\">Frida Kahlo and her husband Diego Rivera \u003ccite>(Carl Van Vechten / Library of Congress)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her paintings started to fetch millions of dollars at auctions. Then, in 2002, came the release of the \u003ca href=\"https://youtu.be/uOUzQYqba4Y\" target=\"_blank\" rel=\"noopener noreferrer\">“Frida” biopic\u003c/a>, starring Salma Hayek.\u003c/p>\n\u003cp>The movie helped amplify the Kahlo brand; it became synonymous with feminine strength in the face of adversity, as well as outsider-underdog power.\u003c/p>\n\u003cp>“She was a female artist, and Mexican, dark-skinned, disabled and queer,” says Circe Henestrosa, curator of a \u003ca href=\"https://deyoung.famsf.org/press-room/frida-kahlo-appearances-can-be-deceiving\" target=\"_blank\" rel=\"noopener noreferrer\">major Kahlo exhibition\u003c/a> traveling to San Francisco’s de Young Museum in March. “Frida’s persona and ethos represents and gives hope and a voice to all these different, diverse groups.”\u003c/p>\n\u003ch3>The Big Business\u003c/h3>\n\u003cp>Even before the movie came out, Melo was among the many artists who not only identified with Kahlo, but also found a way to capitalize on all the Fridamania. In 2001, after noticing Kahlo-inspired products on eBay, Melo set up her own online storefront, featuring her Kahlo-like paintings printed on a range of everyday goods, like magnets, T-shirts and tote bags.\u003c/p>\n\u003cp>“I mean, I would refresh the computer every time and there would be a new bid,” Melo says. “It was amazing. It was so good.”\u003c/p>\n\u003cp>But then something changed.\u003c/p>\n\u003cp>Around 2004, Carlos Dorado, a Venezuelan businessman, also saw a big economic opportunity.\u003c/p>\n\u003cp>Dorado teamed up with the artist’s niece, Isolda Pinedo Kahlo, and eventually her daughter, to launch the \u003ca href=\"https://fridakahlocorporation.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo Corporation\u003c/a> (FKC), which registered dozens of Kahlo-related trademarks and set about licensing a pile of merchandise.\u003c/p>\n\u003cp>FKC’s portfolio includes products like \u003ca href=\"http://www.dpsons.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo tequila\u003c/a>, \u003ca href=\"https://www.ulta.com/frida-kahlo-by-ulta-beauty-signature-box?productId=pimprod2007518\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo makeup\u003c/a>, \u003ca href=\"https://www.sassandbelle.co.uk/search-results/?pricelistid=6&sessionid=63231241&searchterm_submit=go&searchterm=frida+tweezers\" target=\"_blank\" rel=\"noopener noreferrer\">Frida Kahlo Tweezers\u003c/a> — an odd choice given the artist’s iconic unibrow — and the aforementioned Barbie doll and Converse sneakers.\u003c/p>\n\u003cp>“It’s an honor to have a piece of Frida Kahlo that will inspire you day-to-day,” FKC spokeswoman Beatriz Alvarado told NPR \u003ca href=\"https://www.npr.org/2018/06/02/616129555/as-mexico-capitalizes-on-her-image-has-frida-kahlo-become-over-commercialized\" target=\"_blank\" rel=\"noopener noreferrer\">in a 2018\u003c/a> interview about the Kahlo Barbie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘We have been selling Frida all these years with no problem. And now they want us to pay them to sell Fridas. This is our work. We don’t have to.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While the company was making mega-deals with the likes of Mattel, they were also trying to get individual artists like Melo to pay them for the right to sell their Kahlo-inspired art online by entering into licensing partnerships with online marketplaces.\u003c/p>\n\u003cp>Alvarado declined to speak directly with KQED for this story, though she did respond to a some questions by email.\u003c/p>\n\u003cp>“FKC has a legal obligation to police its trademarks,” Alvarado said in her email. “Otherwise, FKC will lose its trademark rights.”\u003c/p>\n\u003ch3>Takedown Troubles\u003c/h3>\n\u003cp>That didn’t sit well with Melo.\u003c/p>\n\u003cp>“We have been selling Frida all these years with no problem,” she says. “And now they want us to pay them to sell Fridas. This is our work. We don’t have to.”\u003c/p>\n\u003cp>So she ignored payment-request notices from the company. But in October 2011, she received a message from \u003ca href=\"https://www.zazzle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zazzle\u003c/a>, one of the online marketplaces where she sells her work, concerning a Kahlo-inspired greeting card she had displayed on the site.\u003c/p>\n\u003cfigure id=\"attachment_11795367\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11795367\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/01/RS40716_zazzle-qut-800x757.jpg\" alt=\"\" width=\"800\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-800x757.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-1020x965.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut-1200x1136.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2020/01/RS40716_zazzle-qut.jpg 1232w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cris Melo’s first takedown notice from Zazzle. \u003ccite>(Screenshot from Zazzle website)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They sent me an email saying that I was violating trademarks, and they were going to take it down,” she says.\u003c/p>\n\u003cp>This was the first of many such emails, promptly followed by takedowns. But only some of her Kahlo-centric creations were being removed, which Melo says seemed frustratingly arbitrary.\u003c/p>\n\u003cp>“I was mad from the get go,” she says.\u003c/p>\n\u003cp>It wasn’t just Melo’s finances that took a hit. Her health did, too. She felt depressed and helpless.\u003c/p>\n\u003cp>“I stopped painting Frida for a while,” she says. “Because if this is going to be happening, why am I going to paint more?”\u003c/p>\n\u003cp>Melo’s situation was far from unique. On social media, she discovered many other artists dealing with similar frustrations.\u003c/p>\n\u003cp>Alvarado, the FKC representative, in an email said her company’s mission is to “protect the Frida Kahlo legacy.” And she denied taking artists’ work down.\u003c/p>\n\u003cp>Technically that’s true.\u003c/p>\n\u003cp>FKC doesn’t do the takedowns directly. The company uses a “brand protection agency” called \u003ca href=\"https://www.redpoints.com/?utm_source=google&utm_medium=cpc&utm_campaign=us-bus-001&utm_content=redpoints-branding&utm_term=red%20points&gclid=CjwKCAiAu9vwBRAEEiwAzvjq-8Vb8OB0SOeh4RUgvXMtSisdMB1OMbA8C0xG3gugn-6OPSWXAcZEUxoCv4YQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">Red Points\u003c/a> to scout the web for potential trademark violations. Its technology then alerts popular online artisan marketplaces like Zazzle and \u003ca href=\"https://www.redbubble.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Redbubble\u003c/a> when it identifies red flags. And then those sites take the work down.\u003c/p>\n\u003cp>“We’re not in a position to be the legal arbiter on the platform,” says Redbubble CEO Barry Newstead, adding that he trusts rights holders like FKC to do their due diligence. “It is their responsibility to ensure that they are actually, you know, requesting stuff to be taken down that is is actually infringing,” he says.\u003c/p>\n\u003ch3>Taking It to the Courthouse\u003c/h3>\n\u003cp>But sometimes the technology takes content down that’s not actually an infringement.\u003c/p>\n\u003cp>FKC does not own all things Frida Kahlo — just material in the product lines that they’ve trademarked. And that doesn’t necessarily include work by Melo and other artists.\u003c/p>\n\u003cp>That’s why Melo is now \u003ca href=\"https://dockets.justia.com/docket/california/candce/3:2019cv05449/347489\" target=\"_blank\" rel=\"noopener noreferrer\">suing FKC in federal court \u003c/a>in San Francisco, alleging that using the name “Frida Kahlo” to describe her paintings of the artist does not infringe on any of the company’s ownership rights.\u003c/p>\n\u003cp>“These are my images from my imagination,” Melo says. “I’m painting a public figure. I don’t know what I’m doing wrong.”\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/_cbJlpO4JiA'\n title='//www.youtube.com/embed/_cbJlpO4JiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, in fact, FKC agrees — sort of. In legal documents, the company acknowledged that Melo’s work was removed in error and was then promptly reinstated. But it then changed its position, arguing that some of the takedowns may have been legally justifiable. Regardless, Melo says she is still receiving takedown notices.\u003c/p>\n\u003cp>“Sometimes, in the course of policing unauthorized use of FKC’s trademarks, Red Points may accidentally capture non-infringing use of the Frida Kahlo brand by artists that are describing their artwork,” FKC’s Alvarado said in an email. “The Frida Kahlo Corporation has always been willing to work with these listings to have them modified and adapted to honor Frida Kahlo without infringing FKC’s trademark rights.”\u003c/p>\n\u003ch3>Celebrity Brands\u003c/h3>\n\u003cp>Many celebrities, both living and deceased, are at the center of squabbles over unauthorized commercial uses of their brands. Besides Kahlo, there have been disputes in recent years involving actor Humphrey Bogart, civil rights activist Rosa Parks and graffiti artist Banksy, to name but three.\u003c/p>\n\u003cp>The proliferation of cases isn’t surprising. Many celebrity brands, from Marilyn Monroe to Bob Marley, are \u003ca href=\"https://www.forbes.com/sites/steveolenski/2017/06/12/the-branding-of-dead-celebrities/#7f960b8d6d80\" target=\"_blank\" rel=\"noopener noreferrer\">worth tens of millions of dollars\u003c/a>. And the laws governing intellectual property are complex and often exceedingly difficult to understand.\u003c/p>\n\u003cp>But some legal observers say Melo’s case points to a larger issue.\u003c/p>\n\u003cp>“It really highlights the fact that small artists, they’re held captive to online marketplaces, and that corporations, such as the Frida Kahlo Corporation, can send numerous and maybe improper takedown notices without much oversight from the platform,” says Louise Carron, who runs the \u003ca href=\"https://itsartlaw.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Art Law\u003c/a>, a research and education nonprofit based in New York.\u003c/p>\n\u003cp>“I think one of the most important issues raised by this case is a general trend towards trying to commercialize and own famous people and historical public figures,” adds Jennifer Rothman, professor of law at \u003ca href=\"https://www.lls.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Loyola Law School\u003c/a> in Los Angeles. “And that raises some very complicated questions about what limits there are on the public’s ability to engage with these people, as well as for artists to refer to them.”\u003c/p>\n\u003cp>That’s why some artists like Melo are testing that power in the courts, in an effort to continue pursuing their livelihoods and keep important public figures, like Frida Kahlo, within the public realm.\u003c/p>\n\u003cp>A federal judge will hear Melo’s case at the end of the month and decide whether to throw the case out or force FKC to stop its agents from issuing takedown notices to Melo.\u003c/p>\n\u003cp>“What I would like as an artist is for us to go back to being able to paint Frida and sell her just the way we did before the Frida Kahlo Corporation was formed,” Melo says. “I just want us to be free to continue doing what we did without harassment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Amnesia is the Latest San Francisco Music Venue to Close",
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"content": "\u003cp>Long-running Mission District club Amnesia is closing its doors. \u003ca href=\"https://missionlocal.org/2020/01/amnesia-longtime-valencia-street-music-venue-slated-to-shutter/\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Local\u003c/a> confirmed that the cozy live music venue, known for its extensive craft beer selection and eclectic programming, is set to cease operations indefinitely on Feb. 29.\u003c/p>\n\u003cp>Without going into specifics, a statement from Amnesia obtained by KQED suggests that the business will reopen in a different incarnation.\u003c/p>\n\u003cp>“It’s time now to write the next chapter of 853 Valencia,” the statement reads. “Our plan is to retain the entertainment license for the space while we work through where music fits into the new model. With full clarity we know that we will not be able to maintain the same model that exists today. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cp>It continues, “What we can say with confidence is that 853 Valencia has been a neighborhood bar-gathering space for over 100 years; this will not go away. Before 853 Valencia was Amnesia it was the Chameleon, before it was the Chameleon it was the Chatterbox, and on and on.”\u003c/p>\n\u003cp>San Francisco’s real estate boom—\u003ca href=\"https://www.theguardian.com/commentisfree/2020/jan/09/san-francisco-gentrification-second-wave\" target=\"_blank\" rel=\"noopener noreferrer\">or crisis\u003c/a>, depending on whom you ask—has not made things easy for independent music venues. Amnesia’s closure follows the recent shuttering of SoMa dance club Mezzanine, which held its final show on New Year’s Eve after 17 years in business. The owners of Mezzanine’s Jessie Street building plan to convert it into office spaces and increase the rent by 600 percent—in 2018, one of the building’s owners \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a>, by way of explanation, “It’s just economics.” Also in 2018, underground rock club the \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">Hemlock Tavern\u003c/a> shut its doors to make room for new development.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like the aforementioned venues, Amnesia is known for its locally focused booking, without backing from live music giants like Goldenvoice or Live Nation. In the Bay Area, the two corporations control booking at many large and mid-sized venues, including the Fillmore, Chase Center, Slim’s, Great American Music Hall, Regency Ballroom and others, and prioritize touring acts over local artists.\u003c/p>\n\u003cp>Meanwhile, smaller clubs like Amnesia give Bay Area residents an alternative for live music—one that comes with a low ticket price and a chance to check out underground or local talent.\u003c/p>\n\u003cp>Craig Wathen, owner of specialty shop City Beer Store, took over Amnesia from previous owner Shawn Magee in 2015. With Adrian Spinelli, an arts journalist and host of the \u003ca href=\"https://www.noisepop.com/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop podcast\u003c/a>, handling Amnesia’s booking over the last year, the venue has hosted some of the Bay Area’s most exciting rising artists, including \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>—who is now signed to Flying Lotus’ Brainfeeder label—and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, a rapper celebrated for their daring lyrical subject matter.\u003c/p>\n\u003cp>Weekly jazz, bluegrass and comedy nights have long been a staple on Amnesia’s monthly calendar, and jazz bands like Gaucho have held residencies there for nearly two decades.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">t’s always accessible, it’s a great place where you can walk up any day of the week and pop in and catch a show whether you know who’s playing or not,” Spinelli says. “It kind of has that charm of equal parts destination and discovery.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to include quotes from Amnesia’s statement.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long-running Mission District club Amnesia is closing its doors. \u003ca href=\"https://missionlocal.org/2020/01/amnesia-longtime-valencia-street-music-venue-slated-to-shutter/\" target=\"_blank\" rel=\"noopener noreferrer\">Mission Local\u003c/a> confirmed that the cozy live music venue, known for its extensive craft beer selection and eclectic programming, is set to cease operations indefinitely on Feb. 29.\u003c/p>\n\u003cp>Without going into specifics, a statement from Amnesia obtained by KQED suggests that the business will reopen in a different incarnation.\u003c/p>\n\u003cp>“It’s time now to write the next chapter of 853 Valencia,” the statement reads. “Our plan is to retain the entertainment license for the space while we work through where music fits into the new model. With full clarity we know that we will not be able to maintain the same model that exists today. We’ve explored many options over the course of the past two years, but the hard truth is that this business is not fiscally sustainable.”\u003c/p>\n\u003cp>It continues, “What we can say with confidence is that 853 Valencia has been a neighborhood bar-gathering space for over 100 years; this will not go away. Before 853 Valencia was Amnesia it was the Chameleon, before it was the Chameleon it was the Chatterbox, and on and on.”\u003c/p>\n\u003cp>San Francisco’s real estate boom—\u003ca href=\"https://www.theguardian.com/commentisfree/2020/jan/09/san-francisco-gentrification-second-wave\" target=\"_blank\" rel=\"noopener noreferrer\">or crisis\u003c/a>, depending on whom you ask—has not made things easy for independent music venues. Amnesia’s closure follows the recent shuttering of SoMa dance club Mezzanine, which held its final show on New Year’s Eve after 17 years in business. The owners of Mezzanine’s Jessie Street building plan to convert it into office spaces and increase the rent by 600 percent—in 2018, one of the building’s owners \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a>, by way of explanation, “It’s just economics.” Also in 2018, underground rock club the \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">Hemlock Tavern\u003c/a> shut its doors to make room for new development.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like the aforementioned venues, Amnesia is known for its locally focused booking, without backing from live music giants like Goldenvoice or Live Nation. In the Bay Area, the two corporations control booking at many large and mid-sized venues, including the Fillmore, Chase Center, Slim’s, Great American Music Hall, Regency Ballroom and others, and prioritize touring acts over local artists.\u003c/p>\n\u003cp>Meanwhile, smaller clubs like Amnesia give Bay Area residents an alternative for live music—one that comes with a low ticket price and a chance to check out underground or local talent.\u003c/p>\n\u003cp>Craig Wathen, owner of specialty shop City Beer Store, took over Amnesia from previous owner Shawn Magee in 2015. With Adrian Spinelli, an arts journalist and host of the \u003ca href=\"https://www.noisepop.com/podcast\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop podcast\u003c/a>, handling Amnesia’s booking over the last year, the venue has hosted some of the Bay Area’s most exciting rising artists, including \u003ca href=\"https://www.kqed.org/arts/13864118/sci-fi-album-climate-anxiety-salami-rose-joe-louis-brainfeeder\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a>—who is now signed to Flying Lotus’ Brainfeeder label—and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, a rapper celebrated for their daring lyrical subject matter.\u003c/p>\n\u003cp>Weekly jazz, bluegrass and comedy nights have long been a staple on Amnesia’s monthly calendar, and jazz bands like Gaucho have held residencies there for nearly two decades.\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">t’s always accessible, it’s a great place where you can walk up any day of the week and pop in and catch a show whether you know who’s playing or not,” Spinelli says. “It kind of has that charm of equal parts destination and discovery.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to include quotes from Amnesia’s statement.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://www.grammy.com/recording-academy\">National Academy of Recording Arts and Sciences\u003c/a> has placed its president and CEO, Deborah Dugan, on administrative leave in a major shakeup at the organization less than two weeks before this year’s Grammy Awards ceremony.\u003c/p>\n\u003cp>A statement released by the Recording Academy’s board of trustees referred to “a formal allegation of misconduct by a senior female member of the Recording Academy team” and said it had placed Dugan “on administrative leave, effective immediately.”\u003c/p>\n\u003cp>The statement did not specify the nature of the allegation, nor who is accused of committing the misconduct.\u003c/p>\n\u003cp>Dugan became the Recording Academy’s first female CEO less than six months ago. She followed Neil Portnow, who led the group for 17 years, but sparked controversy with a comment after the 2018 show that \u003ca href=\"https://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\">women needed to “step up”\u003c/a> to get ahead in the music industry.\u003c/p>\n\u003cp>“The board has also retained two independent third-party investigators to conduct independent investigations of the allegations,” the statement said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The board determined this action to be necessary in order to restore the confidence of the Recording Academy’s membership, repair Recording Academy employee morale, and allow the Recording Academy to focus on its mission of serving all music creators,” it continued. “The Recording Academy Board of Trustees is committed to fostering a safe, diverse, and inclusive workplace, music industry, and society.”\u003c/p>\n\u003cp>The Recording Academy’s board chair, \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\">Harvey Mason Jr.\u003c/a>, a music producer who has worked with such recording artists as Chris Brown and Jennifer Hudson, will step in as interim president and CEO, the statement said.\u003c/p>\n\u003cp>Dugan headed Bono’s \u003ca href=\"https://www.red.org/\">(RED)\u003c/a>, an organization focused on combating HIV/AIDS, before coming to the Academy and had previously been president of Disney Publishing Worldwide and executive vice president at EMI/Capitol Records.\u003c/p>\n\u003cp>She came in promising to “reinvent” the organization, telling \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">NPR in an interview in December\u003c/a> that she was leading “a major restructuring to allow for immediate diversity.”\u003c/p>\n\u003cp>Dugan said she and Mason were “personally and professionally committed to advance and champion diversity, inclusivity, transparency — making processes simple and understandable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.grammy.com/grammys/news/billie-eilish-lizzo-aerosmith-gwen-stefani-and-blake-shelton-perform-2020-grammys\">Grammy Awards ceremony\u003c/a>, to be held Jan. 26, will feature performances by Lizzo — who tops the list with eight nominations — as well as Aerosmith, Camila Cabello, Billie Eilish, H.E.R., the Jonas Brothers, Demi Lovato, Bonnie Raitt, Rosalía, Run-DMC, Blake Shelton, Gwen Stefani, Charlie Wilson and Tyler, the Creator, among others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recording+Academy+CEO+Suspended+Amid+Misconduct+Allegations+Ahead+Of+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.grammy.com/recording-academy\">National Academy of Recording Arts and Sciences\u003c/a> has placed its president and CEO, Deborah Dugan, on administrative leave in a major shakeup at the organization less than two weeks before this year’s Grammy Awards ceremony.\u003c/p>\n\u003cp>A statement released by the Recording Academy’s board of trustees referred to “a formal allegation of misconduct by a senior female member of the Recording Academy team” and said it had placed Dugan “on administrative leave, effective immediately.”\u003c/p>\n\u003cp>The statement did not specify the nature of the allegation, nor who is accused of committing the misconduct.\u003c/p>\n\u003cp>Dugan became the Recording Academy’s first female CEO less than six months ago. She followed Neil Portnow, who led the group for 17 years, but sparked controversy with a comment after the 2018 show that \u003ca href=\"https://variety.com/2018/music/news/grammys-so-male-women-recording-academy-president-neil-portnow-1202679902/\">women needed to “step up”\u003c/a> to get ahead in the music industry.\u003c/p>\n\u003cp>“The board has also retained two independent third-party investigators to conduct independent investigations of the allegations,” the statement said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The board determined this action to be necessary in order to restore the confidence of the Recording Academy’s membership, repair Recording Academy employee morale, and allow the Recording Academy to focus on its mission of serving all music creators,” it continued. “The Recording Academy Board of Trustees is committed to fostering a safe, diverse, and inclusive workplace, music industry, and society.”\u003c/p>\n\u003cp>The Recording Academy’s board chair, \u003ca href=\"https://www.grammy.com/press-releases/recording-academy%E2%84%A2-announces-harvey-mason-jr-tammy-hurt-terry-hemmings-and-christine\">Harvey Mason Jr.\u003c/a>, a music producer who has worked with such recording artists as Chris Brown and Jennifer Hudson, will step in as interim president and CEO, the statement said.\u003c/p>\n\u003cp>Dugan headed Bono’s \u003ca href=\"https://www.red.org/\">(RED)\u003c/a>, an organization focused on combating HIV/AIDS, before coming to the Academy and had previously been president of Disney Publishing Worldwide and executive vice president at EMI/Capitol Records.\u003c/p>\n\u003cp>She came in promising to “reinvent” the organization, telling \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">NPR in an interview in December\u003c/a> that she was leading “a major restructuring to allow for immediate diversity.”\u003c/p>\n\u003cp>Dugan said she and Mason were “personally and professionally committed to advance and champion diversity, inclusivity, transparency — making processes simple and understandable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.grammy.com/grammys/news/billie-eilish-lizzo-aerosmith-gwen-stefani-and-blake-shelton-perform-2020-grammys\">Grammy Awards ceremony\u003c/a>, to be held Jan. 26, will feature performances by Lizzo — who tops the list with eight nominations — as well as Aerosmith, Camila Cabello, Billie Eilish, H.E.R., the Jonas Brothers, Demi Lovato, Bonnie Raitt, Rosalía, Run-DMC, Blake Shelton, Gwen Stefani, Charlie Wilson and Tyler, the Creator, among others. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recording+Academy+CEO+Suspended+Amid+Misconduct+Allegations+Ahead+Of+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://creative-capital.org/\">Creative Capital\u003c/a>, the New York grant-making nonprofit, announced $100,000 awards for three Bay Area artists Wednesday as part of a $3.5 million funding round for projects nationwide.\u003c/p>\n\u003cp>Oakland filmmaker Rodrigo Reyes and Oakland dancer and social practice artist randy reyes (no relation) as well as San Francisco poet, essayist and editor Tonya Foster are among the 41 artists selected by a nine-member, multidisciplinary panel to receive $50,000 in career development services and $50,000 in project funding as 2020 Creative Capital Award winners.\u003c/p>\n\u003cp>Rodrigo Reyes, whose 2014 film \u003cem>Purgatorio\u003c/em> portrays life and death along the U.S.-Mexico border, won the award for an as-yet-untitled documentary about two Mexican migrants in rural California “told within the frame of the dramatic clash between systemic forces and personal choices that envelop young, incarcerated men of color in America,” according to the press release.\u003c/p>\n\u003cp>randy reyes, who’s been a fellow and resident at CounterPulse and Yerba Buena Center for the Arts, is launching \u003cem>Encuentro 33: LINE/AGE | Queer Neuro-Cognitive Architectures Hidden in Plain Site(s)\u003c/em>, a collaboration with a diverse, national cast of artists to develop performances “centering ecology, lineage and ritual through a choreographic lens,” the announcement reads.\u003c/p>\n\u003cp>Tonya Foster, meanwhile, is combining poetry, nonfiction prose and what the announcement calls “fictive FBI records” in \u003cem>Monkey Talk\u003c/em>, a multi-volume writing and multimedia project exploring surveillance and race. Foster, an assistant writing professor at California College of the Arts, is the author of two books and recipient of numerous fellowships and residencies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Though these artists come to us from very different backgrounds, work in different fields, and explore a wide range of subjects, they share a dedication to pushing boundaries, both ours and their own,” Creative Capital president and executive director Suzy Delvalle said in a statement.\u003c/p>\n\u003cp>The 35 projects by 41 individual artists awarded this year were selected from a pool of more than 4,000 applicants. The announcement Wednesday details the demographics of the winners: 76 percent people of color, 54 percent women and 12 percent trans or gender nonbinary.\u003c/p>\n\u003cp>Creative Capital, formed 20 years ago in order to counter deep cuts to the National Endowment for the Arts, receives key funding from the Andy Warhol Foundation for the Visual Arts, the Doris Duke Charitable Foundation and the Surdna Foundation as well as individual donors.\u003c/p>\n\u003cp>The organization’s “venture philanthropy” approach stresses cash alongside professional development services, mentorship and gatherings in order to increase the money’s impact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Applications for the next round of the now-annual Creative Capital Awards open Saturday, Feb. 1. \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Though these artists come to us from very different backgrounds, work in different fields, and explore a wide range of subjects, they share a dedication to pushing boundaries, both ours and their own,” Creative Capital president and executive director Suzy Delvalle said in a statement.\u003c/p>\n\u003cp>The 35 projects by 41 individual artists awarded this year were selected from a pool of more than 4,000 applicants. The announcement Wednesday details the demographics of the winners: 76 percent people of color, 54 percent women and 12 percent trans or gender nonbinary.\u003c/p>\n\u003cp>Creative Capital, formed 20 years ago in order to counter deep cuts to the National Endowment for the Arts, receives key funding from the Andy Warhol Foundation for the Visual Arts, the Doris Duke Charitable Foundation and the Surdna Foundation as well as individual donors.\u003c/p>\n\u003cp>The organization’s “venture philanthropy” approach stresses cash alongside professional development services, mentorship and gatherings in order to increase the money’s impact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Applications for the next round of the now-annual Creative Capital Awards open Saturday, Feb. 1. \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Whitney Houston, Notorious B.I.G. Among 2020's Rock & Roll Hall of Fame Inductees",
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"content": "\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Study: Dating Apps Share Users' Sexuality, Drug Use, Political Views With Advertisers",
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"content": "\u003cp>A group of civil rights and consumer groups is \u003ca href=\"https://www.citizen.org/article/popular-dating-health-apps-violate-privacy/\" target=\"_blank\" rel=\"noopener noreferrer\">urging\u003c/a> federal and state regulators to examine a number of mobile apps, including popular dating apps Grindr, Tinder and OKCupid for allegedly sharing personal information with advertising companies.\u003c/p>\n\u003cp>The push by the privacy rights coalition follows a \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> published on Tuesday by the Norwegian Consumer Council that found 10 apps collect sensitive information including a user’s exact location, sexual orientation, religious and political beliefs, drug use and other information and then transmit the personal data to at least 135 different third-party companies.\u003c/p>\n\u003cp>The data harvesting, according to the Norwegian government agency, appears to violate the European Union’s rules intended to protect people’s online data, known as the General Data Protection Regulation.\u003c/p>\n\u003cp>In the U.S., consumer groups are equally alarmed. The group urging regulators to act on the Norwegian study, led by government watchdog group Public Citizen, says Congress should use the findings as a roadmap to pass a new law patterned after Europe’s tough data privacy rules that took effect in 2018.\u003c/p>\n\u003cp>“These apps and online services spy on people, collect vast amounts of personal data and share it with third parties without people’s knowledge. Industry calls it adtech. We call it surveillance,” said Burcu Kilic, a lawyer who leads the digital rights program at Public Citizen. “We need to regulate it now, before it’s too late.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Norwegian study, which looks only at apps on Android phones, traces the journey a user’s personal information takes before it arrives at marketing companies.\u003c/p>\n\u003cp>For example, Grindr’s app includes Twitter-owned advertising software, which collects and processes personal information and unique identifiers such as a phone’s ID and IP address, allowing advertising companies to track consumers across devices. This Twitter-owned go-between for personal data is controlled by a firm called MoPub.\u003c/p>\n\u003cp>“Grindr only lists Twitter’s MoPub as an advertising partner, and encourages users to read the privacy policies of MoPub’s own partners to understand how data is used. MoPub lists more than 160 partners, which clearly makes it impossible for users to give an informed consent to how each of these partners may use personal data,” the \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> states.\u003c/p>\n\u003cp>This is not the first time Grindr has become embroiled in controversy over data sharing. In 2018, the dating app \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/03/599069424/grindr-admits-it-shared-hiv-status-of-users\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would stop sharing users’ HIV status with companies following a report in \u003ca href=\"https://www.buzzfeednews.com/article/azeenghorayshi/grindr-hiv-status-privacy#.yp0J48W0N\" target=\"_blank\" rel=\"noopener noreferrer\">BuzzFeed\u003c/a> exposing the practice, leading AIDS advocates to raise questions about health, safety and personal privacy.\u003c/p>\n\u003cp>The latest data violations unearthed by the Norwegian researchers come the same month California \u003ca href=\"https://www.npr.org/2019/12/30/791190150/california-rings-in-the-new-year-with-a-new-data-privacy-law\" target=\"_blank\" rel=\"noopener noreferrer\">enacted\u003c/a> the strongest data privacy law in the U.S. Under the law, known as the California Consumer Privacy Act, consumers can opt out of the sale of their personal information. If tech companies do not comply, the law permits the user to sue.\u003c/p>\n\u003cp>In its \u003ca href=\"https://www.citizen.org/wp-content/uploads/CA-AG-Out-of-Control-NCC-1.14.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> sent Tuesday to the California attorney general, the ACLU of California argues that the practice described in the Norwegian report may violate the state’s new data privacy law, in addition to constituting possible unfair and deceptive practices, which is unlawful in California.\u003c/p>\n\u003cp>A Twitter spokesperson said in a statement that the company has suspended advertising software used by Grindr highlighted in the report as the company reviews the study’s findings.\u003c/p>\n\u003cp>“We are currently investigating this issue to understand the sufficiency of Grindr’s consent mechanism. In the meantime, we have disabled Grindr’s MoPub account,” a Twitter spokesperson told NPR.\u003c/p>\n\u003cp>The study found the dating app OKCupid shared details about a user’s sexuality, drug use, political views and more to an analytics company called Braze.\u003c/p>\n\u003cp>The Match Group, the company that owns OKCupid and Tinder, said in a statement that privacy was at the core of its business, saying it only shares information to third parties that comply with applicable laws.\u003c/p>\n\u003cp>“All Match Group products obtain from these vendors strict contractual commitments that ensure confidentiality, security of users’ personal information and strictly prohibit commercialization of this data,” a company spokesman said.\u003c/p>\n\u003cp>Many app users, the study noted, never try to read or understand the privacy policies before using an app. But even if the policies are studied, the Norwegian researchers say the legalese-filled documents sometimes do not provide a complete picture of what is happening with a person’s personal information.\u003c/p>\n\u003cp>“If one actually attempts to read the privacy policy of any given app, the third parties who may receive personal data are often not mentioned by name. If the third parties are actually listed, the consumer then has to read the privacy policies of these third parties to understand how they may use the data,” the study says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In other words, it is practically impossible for the consumer to have even a basic overview of what and where their personal data might be transmitted, or how it is used, even from only a single app.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Study%3A+Tinder%2C+Grindr+And+Other+Apps+Share+Sensitive+Personal+Data+With+Advertisers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group of civil rights and consumer groups is \u003ca href=\"https://www.citizen.org/article/popular-dating-health-apps-violate-privacy/\" target=\"_blank\" rel=\"noopener noreferrer\">urging\u003c/a> federal and state regulators to examine a number of mobile apps, including popular dating apps Grindr, Tinder and OKCupid for allegedly sharing personal information with advertising companies.\u003c/p>\n\u003cp>The push by the privacy rights coalition follows a \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> published on Tuesday by the Norwegian Consumer Council that found 10 apps collect sensitive information including a user’s exact location, sexual orientation, religious and political beliefs, drug use and other information and then transmit the personal data to at least 135 different third-party companies.\u003c/p>\n\u003cp>The data harvesting, according to the Norwegian government agency, appears to violate the European Union’s rules intended to protect people’s online data, known as the General Data Protection Regulation.\u003c/p>\n\u003cp>In the U.S., consumer groups are equally alarmed. The group urging regulators to act on the Norwegian study, led by government watchdog group Public Citizen, says Congress should use the findings as a roadmap to pass a new law patterned after Europe’s tough data privacy rules that took effect in 2018.\u003c/p>\n\u003cp>“These apps and online services spy on people, collect vast amounts of personal data and share it with third parties without people’s knowledge. Industry calls it adtech. We call it surveillance,” said Burcu Kilic, a lawyer who leads the digital rights program at Public Citizen. “We need to regulate it now, before it’s too late.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Norwegian study, which looks only at apps on Android phones, traces the journey a user’s personal information takes before it arrives at marketing companies.\u003c/p>\n\u003cp>For example, Grindr’s app includes Twitter-owned advertising software, which collects and processes personal information and unique identifiers such as a phone’s ID and IP address, allowing advertising companies to track consumers across devices. This Twitter-owned go-between for personal data is controlled by a firm called MoPub.\u003c/p>\n\u003cp>“Grindr only lists Twitter’s MoPub as an advertising partner, and encourages users to read the privacy policies of MoPub’s own partners to understand how data is used. MoPub lists more than 160 partners, which clearly makes it impossible for users to give an informed consent to how each of these partners may use personal data,” the \u003ca href=\"https://fil.forbrukerradet.no/wp-content/uploads/2020/01/2020-01-14-out-of-control-final-version.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">report\u003c/a> states.\u003c/p>\n\u003cp>This is not the first time Grindr has become embroiled in controversy over data sharing. In 2018, the dating app \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/04/03/599069424/grindr-admits-it-shared-hiv-status-of-users\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would stop sharing users’ HIV status with companies following a report in \u003ca href=\"https://www.buzzfeednews.com/article/azeenghorayshi/grindr-hiv-status-privacy#.yp0J48W0N\" target=\"_blank\" rel=\"noopener noreferrer\">BuzzFeed\u003c/a> exposing the practice, leading AIDS advocates to raise questions about health, safety and personal privacy.\u003c/p>\n\u003cp>The latest data violations unearthed by the Norwegian researchers come the same month California \u003ca href=\"https://www.npr.org/2019/12/30/791190150/california-rings-in-the-new-year-with-a-new-data-privacy-law\" target=\"_blank\" rel=\"noopener noreferrer\">enacted\u003c/a> the strongest data privacy law in the U.S. Under the law, known as the California Consumer Privacy Act, consumers can opt out of the sale of their personal information. If tech companies do not comply, the law permits the user to sue.\u003c/p>\n\u003cp>In its \u003ca href=\"https://www.citizen.org/wp-content/uploads/CA-AG-Out-of-Control-NCC-1.14.20.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> sent Tuesday to the California attorney general, the ACLU of California argues that the practice described in the Norwegian report may violate the state’s new data privacy law, in addition to constituting possible unfair and deceptive practices, which is unlawful in California.\u003c/p>\n\u003cp>A Twitter spokesperson said in a statement that the company has suspended advertising software used by Grindr highlighted in the report as the company reviews the study’s findings.\u003c/p>\n\u003cp>“We are currently investigating this issue to understand the sufficiency of Grindr’s consent mechanism. In the meantime, we have disabled Grindr’s MoPub account,” a Twitter spokesperson told NPR.\u003c/p>\n\u003cp>The study found the dating app OKCupid shared details about a user’s sexuality, drug use, political views and more to an analytics company called Braze.\u003c/p>\n\u003cp>The Match Group, the company that owns OKCupid and Tinder, said in a statement that privacy was at the core of its business, saying it only shares information to third parties that comply with applicable laws.\u003c/p>\n\u003cp>“All Match Group products obtain from these vendors strict contractual commitments that ensure confidentiality, security of users’ personal information and strictly prohibit commercialization of this data,” a company spokesman said.\u003c/p>\n\u003cp>Many app users, the study noted, never try to read or understand the privacy policies before using an app. But even if the policies are studied, the Norwegian researchers say the legalese-filled documents sometimes do not provide a complete picture of what is happening with a person’s personal information.\u003c/p>\n\u003cp>“If one actually attempts to read the privacy policy of any given app, the third parties who may receive personal data are often not mentioned by name. If the third parties are actually listed, the consumer then has to read the privacy policies of these third parties to understand how they may use the data,” the study says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In other words, it is practically impossible for the consumer to have even a basic overview of what and where their personal data might be transmitted, or how it is used, even from only a single app.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Study%3A+Tinder%2C+Grindr+And+Other+Apps+Share+Sensitive+Personal+Data+With+Advertisers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "An Oakland Metalsmith Risks Instability to Bring Metal Arts to Black Girls",
"headTitle": "An Oakland Metalsmith Risks Instability to Bring Metal Arts to Black Girls | KQED",
"content": "\u003cp>Earlier this month, Oakland metalsmith \u003ca href=\"https://karensmithmetalartist.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Smith\u003c/a> put the finishing touches on \u003cem>Mamedjarra the Sacred\u003c/em>, a sterling silver necklace. After nearly a year of work on the piece—a hammered crescent with dangling discs and frizzy strands—she shipped it to the Richmond Art Center, where it’s featured in a new group show, \u003cem>\u003ca href=\"http://richmondartcenter.org/exhibitions/art-of-the-african-diaspora-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Art of the African Diaspora\u003c/a>\u003c/em>. And then she started to pack up her East Oakland workspace, where Smith is being displaced after falling behind on rent.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>2019 income: <$10,000\u003c/li>\n\u003cli>Home and studio rent: $800/month\u003c/li>\n\u003cli>2019 City of Oakland grant: $4,999\u003c/li>\n\u003cli>Time spent waiting for grant check: 5 months and counting\u003c/li>\n\u003cli>Silver: $18.09/ounce\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>“It’s a huge transitional time for me,” says Smith, wearing hoops and a black apron, as she demonstrates an acetylene torch on solderite in the small studio. “But a good one.”\u003c/p>\n\u003cp>Smith, who moved to Oakland in 1995 (she refuses to share her age), is shifting her metalwork practice from jewelry to a fine arts context, and launching a new nonprofit, \u003ca href=\"https://wewieldthehammer.org/\" target=\"_blank\" rel=\"noopener noreferrer\">We Wield the Hammer\u003c/a>, to bring the craft to other black women and girls through free, intensive workshops. The transition follows an influential apprenticeship in Senegal that took her abroad for most of 2018. “That was the start of the snowballing debt,” she says. “The trip was also a catalyst.”\u003c/p>\n\u003cp>Workspace and housing costs are the biggest challenges to artists in Oakland, according to a \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/agenda/oak062138.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">city report\u003c/a> from 2016. What’s unique about Smith isn’t her financial struggles so much as her response: doubling down on as-yet-unprofitable projects. She’s loaning her equipment to a young metalsmith who’s teaching for We Wield the Hammer, which runs out of the Crucible in West Oakland, and foregoing a salary while fundraising for her fiscally-sponsored organization. She’s also speaking candidly about her experience, aiming to spur public investment in the arts.\u003c/p>\n\u003cfigure id=\"attachment_13873216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg\" alt=\"Smith demonstrates her acetylene torch on solderite.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith demonstrates her acetylene torch on solderite. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a November meeting of the advisory committee to Oakland’s Cultural Funding Program (CFP), which awarded her nonprofit $4,999 in both 2018 and 2019 (though the latter check is still in the mail), Smith shared that her car was repossessed while she poured her energy into We Wield the Hammer, and advocated boosting grant amounts in the individual artist category.[pullquote size='medium' citation='Karen Smith']‘The cost of everything has gone up exponentially except grants and salaries.’[/pullquote]\u003c/p>\n\u003cp>“The cost of everything has gone up exponentially except grants and salaries,” she said during the public comment period. “The award is a pittance. I’m grateful—but it’s a pittance.” Smith continued, “I’m here because I want to put a face on what it means to be an artist in Oakland.”\u003c/p>\n\u003cp>Smith, who grew up in Brooklyn, divorced her husband in 2010. “I promised not to do things I don’t want to do anymore,” she says. She started a business, New Spirit Designs, making objects such as malas, or prayer beads, related to her practice as a Buddhist, which started 20 years ago at a daylong meditation. “I hadn’t been quiet for a day, ever, and over the course of the day my life changed,” she says. “I could actually listen to what was happening in my body.”\u003c/p>\n\u003cfigure id=\"attachment_13873215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg\" alt=\"Sizing rings in Smith's soon-to-be-empty workspace. She's being displaced after falling behind on rent.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sizing rings in Smith’s soon-to-be-empty workspace. She’s being displaced after falling behind on rent. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with beads, though, left Smith unfulfilled. Several years ago she commissioned a metal bracelet, providing drawings to a craftsperson. “It was beautiful but it wasn’t what I envisioned,” she recalls. “That’s what made me realize I need to work with metal.” Through library books and online forums, she learned wire-wrapping, and then to use a butane torch. “Because I had no background, no idea what I was doing, I started out with silver—great way to burn money.”\u003c/p>\n\u003cp>Smith has made wedding bands, which run up to $2,000 for gold, and sold jewelry at farmers markets and craft fairs. “It’s a hardscrabble way to make a living,” she says, noting the physical toll and upfront costs. Now, though, Smith wants to make more work like her piece for \u003cem>Art of the African Diaspora\u003c/em>: sculpture, or “wearable art,” as she likes to say. She wants to use the metalsmithing techniques she learned through jewelry to create less everyday objects. As a former academic accustomed to valuing educational pedigree, being self-taught provokes some insecurity. “So I’m trying to position myself to consistently own the title ‘artist,’” she says.\u003c/p>\n\u003cp>“I mean, I’ll probably always make jewelry, like hoops—I’m a hoops whore,” she adds. “Every woman looks good in hoops. But hoops like these cost $40. I also make a pair that cost $340.”\u003c/p>\n\u003cfigure id=\"attachment_13873214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Laughing-800x450.jpg\" alt=\"Smith is transitioning her metalwork from jewelry to a fine arts context.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith is transitioning her metalwork from jewelry to a fine arts context. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith describes her time in Senegal in 2018 as practically preordained, the result of one morning “hearing a voice.” She couldn’t find a formal apprenticeship program, but through academic contacts made some inroads with artisans in Dakar, the capital. “The first person who responded was a Senegalese man who said, ‘Does she know that women don’t wield the hammer? That we have that saying? That it’s transmitted father-to-son?’” she recalls. “I was like, sorry, no I don’t know about any of that. And he said, ‘Good, because it has to change.’”[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>She connected with a fifth-generation metalsmith named Ibrahim Sow and his apprentice son, Oumar Moida. “I think he thought initially that I was some young girl who wanted to make earrings on vacation for the ’gram,” she says. “When I got there he was amazed by my age, that I’m black—he was hella taken aback.” She learned to work from scratch: melting fine silver and copper to form sterling as well as making her own soldering alloy. She first stayed for two months and then, at Sow’s urging, returned for four-and-a-half more months later in 2018.\u003c/p>\n\u003cp>The patriarchal legacy of metalsmithing in Senegal created distance between Smith and the women around the artist village where she worked in Dakar. But she captured the interest of a young girl who’d stand silently in the studio doorway to watch. “I asked the teacher’s son about her and he said that she thought I was a ghost, that she’d never seen a woman doing what I was doing, so I had to be magic,” she says. “I thought, if she wants to learn, who will teach her?”\u003c/p>\n\u003cfigure id=\"attachment_13873213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873213\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/is-torch-off-800x450.jpg\" alt=\"Because she's being displaced from her workspace, Smith is loaning her equipment to Ale'ah Bashir Baaqee, a young metal artist from Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because she’s being displaced from her workspace, Smith is loaning her equipment to Ale’ah Bashir Baaqee, a young metal artist from Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith returned from Dakar inspired but stressed; she’d spent most of 2018 without income, and started last year with an illness that prevented her from working for several weeks. “When you work for yourself there’s no unemployment, no sick pay,” she says. Still, Smith found some part-time work teaching at the Crucible (where co-teaching a two-day workshop pays approximately $300). The industrial arts center hosted the first We Wield the Hammer session last summer, and Smith secured the CFP grants to buy materials and pay a teacher, Ale’ah Bashir Baaqee.\u003c/p>\n\u003cp>The second eight-week session of We Wield the Hammer, which Smith plans to expand to Senegal, starts this month with a cohort of six black women and girls between the ages of 14 and 24. Until she can draw a salary from the organization, she plans to use workspace at the Crucible for personal projects. Because she must vacate her studio by the end of January, Smith is loaning her equipment to Baaqee, a metal artist from Oakland. “I’m letting her borrow all of these hammers,” Smith says in the soon-to-be-empty studio. “This is my favorite hammer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Aiming to spur public investment in the arts, Karen Smith says, 'I want to put a face on what it means to be an artist in Oakland.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this month, Oakland metalsmith \u003ca href=\"https://karensmithmetalartist.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Karen Smith\u003c/a> put the finishing touches on \u003cem>Mamedjarra the Sacred\u003c/em>, a sterling silver necklace. After nearly a year of work on the piece—a hammered crescent with dangling discs and frizzy strands—she shipped it to the Richmond Art Center, where it’s featured in a new group show, \u003cem>\u003ca href=\"http://richmondartcenter.org/exhibitions/art-of-the-african-diaspora-2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Art of the African Diaspora\u003c/a>\u003c/em>. And then she started to pack up her East Oakland workspace, where Smith is being displaced after falling behind on rent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>2019 income: <$10,000\u003c/li>\n\u003cli>Home and studio rent: $800/month\u003c/li>\n\u003cli>2019 City of Oakland grant: $4,999\u003c/li>\n\u003cli>Time spent waiting for grant check: 5 months and counting\u003c/li>\n\u003cli>Silver: $18.09/ounce\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a huge transitional time for me,” says Smith, wearing hoops and a black apron, as she demonstrates an acetylene torch on solderite in the small studio. “But a good one.”\u003c/p>\n\u003cp>Smith, who moved to Oakland in 1995 (she refuses to share her age), is shifting her metalwork practice from jewelry to a fine arts context, and launching a new nonprofit, \u003ca href=\"https://wewieldthehammer.org/\" target=\"_blank\" rel=\"noopener noreferrer\">We Wield the Hammer\u003c/a>, to bring the craft to other black women and girls through free, intensive workshops. The transition follows an influential apprenticeship in Senegal that took her abroad for most of 2018. “That was the start of the snowballing debt,” she says. “The trip was also a catalyst.”\u003c/p>\n\u003cp>Workspace and housing costs are the biggest challenges to artists in Oakland, according to a \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/agenda/oak062138.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">city report\u003c/a> from 2016. What’s unique about Smith isn’t her financial struggles so much as her response: doubling down on as-yet-unprofitable projects. She’s loaning her equipment to a young metalsmith who’s teaching for We Wield the Hammer, which runs out of the Crucible in West Oakland, and foregoing a salary while fundraising for her fiscally-sponsored organization. She’s also speaking candidly about her experience, aiming to spur public investment in the arts.\u003c/p>\n\u003cfigure id=\"attachment_13873216\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg\" alt=\"Smith demonstrates her acetylene torch on solderite.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Soldering-in-action.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith demonstrates her acetylene torch on solderite. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a November meeting of the advisory committee to Oakland’s Cultural Funding Program (CFP), which awarded her nonprofit $4,999 in both 2018 and 2019 (though the latter check is still in the mail), Smith shared that her car was repossessed while she poured her energy into We Wield the Hammer, and advocated boosting grant amounts in the individual artist category.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The cost of everything has gone up exponentially except grants and salaries,” she said during the public comment period. “The award is a pittance. I’m grateful—but it’s a pittance.” Smith continued, “I’m here because I want to put a face on what it means to be an artist in Oakland.”\u003c/p>\n\u003cp>Smith, who grew up in Brooklyn, divorced her husband in 2010. “I promised not to do things I don’t want to do anymore,” she says. She started a business, New Spirit Designs, making objects such as malas, or prayer beads, related to her practice as a Buddhist, which started 20 years ago at a daylong meditation. “I hadn’t been quiet for a day, ever, and over the course of the day my life changed,” she says. “I could actually listen to what was happening in my body.”\u003c/p>\n\u003cfigure id=\"attachment_13873215\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg\" alt=\"Sizing rings in Smith's soon-to-be-empty workspace. She's being displaced after falling behind on rent.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Sizing-rings.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sizing rings in Smith’s soon-to-be-empty workspace. She’s being displaced after falling behind on rent. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Working with beads, though, left Smith unfulfilled. Several years ago she commissioned a metal bracelet, providing drawings to a craftsperson. “It was beautiful but it wasn’t what I envisioned,” she recalls. “That’s what made me realize I need to work with metal.” Through library books and online forums, she learned wire-wrapping, and then to use a butane torch. “Because I had no background, no idea what I was doing, I started out with silver—great way to burn money.”\u003c/p>\n\u003cp>Smith has made wedding bands, which run up to $2,000 for gold, and sold jewelry at farmers markets and craft fairs. “It’s a hardscrabble way to make a living,” she says, noting the physical toll and upfront costs. Now, though, Smith wants to make more work like her piece for \u003cem>Art of the African Diaspora\u003c/em>: sculpture, or “wearable art,” as she likes to say. She wants to use the metalsmithing techniques she learned through jewelry to create less everyday objects. As a former academic accustomed to valuing educational pedigree, being self-taught provokes some insecurity. “So I’m trying to position myself to consistently own the title ‘artist,’” she says.\u003c/p>\n\u003cp>“I mean, I’ll probably always make jewelry, like hoops—I’m a hoops whore,” she adds. “Every woman looks good in hoops. But hoops like these cost $40. I also make a pair that cost $340.”\u003c/p>\n\u003cfigure id=\"attachment_13873214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Laughing-800x450.jpg\" alt=\"Smith is transitioning her metalwork from jewelry to a fine arts context.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Laughing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Smith is transitioning her metalwork from jewelry to a fine arts context. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith describes her time in Senegal in 2018 as practically preordained, the result of one morning “hearing a voice.” She couldn’t find a formal apprenticeship program, but through academic contacts made some inroads with artisans in Dakar, the capital. “The first person who responded was a Senegalese man who said, ‘Does she know that women don’t wield the hammer? That we have that saying? That it’s transmitted father-to-son?’” she recalls. “I was like, sorry, no I don’t know about any of that. And he said, ‘Good, because it has to change.’”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She connected with a fifth-generation metalsmith named Ibrahim Sow and his apprentice son, Oumar Moida. “I think he thought initially that I was some young girl who wanted to make earrings on vacation for the ’gram,” she says. “When I got there he was amazed by my age, that I’m black—he was hella taken aback.” She learned to work from scratch: melting fine silver and copper to form sterling as well as making her own soldering alloy. She first stayed for two months and then, at Sow’s urging, returned for four-and-a-half more months later in 2018.\u003c/p>\n\u003cp>The patriarchal legacy of metalsmithing in Senegal created distance between Smith and the women around the artist village where she worked in Dakar. But she captured the interest of a young girl who’d stand silently in the studio doorway to watch. “I asked the teacher’s son about her and he said that she thought I was a ghost, that she’d never seen a woman doing what I was doing, so I had to be magic,” she says. “I thought, if she wants to learn, who will teach her?”\u003c/p>\n\u003cfigure id=\"attachment_13873213\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873213\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/is-torch-off-800x450.jpg\" alt=\"Because she's being displaced from her workspace, Smith is loaning her equipment to Ale'ah Bashir Baaqee, a young metal artist from Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/is-torch-off.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Because she’s being displaced from her workspace, Smith is loaning her equipment to Ale’ah Bashir Baaqee, a young metal artist from Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith returned from Dakar inspired but stressed; she’d spent most of 2018 without income, and started last year with an illness that prevented her from working for several weeks. “When you work for yourself there’s no unemployment, no sick pay,” she says. Still, Smith found some part-time work teaching at the Crucible (where co-teaching a two-day workshop pays approximately $300). The industrial arts center hosted the first We Wield the Hammer session last summer, and Smith secured the CFP grants to buy materials and pay a teacher, Ale’ah Bashir Baaqee.\u003c/p>\n\u003cp>The second eight-week session of We Wield the Hammer, which Smith plans to expand to Senegal, starts this month with a cohort of six black women and girls between the ages of 14 and 24. Until she can draw a salary from the organization, she plans to use workspace at the Crucible for personal projects. Because she must vacate her studio by the end of January, Smith is loaning her equipment to Baaqee, a metal artist from Oakland. “I’m letting her borrow all of these hammers,” Smith says in the soon-to-be-empty studio. “This is my favorite hammer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Like many Russian immigrants who came to the Bay Area in the 1990s, my childhood was full of weekly pilgrimages to San Francisco’s Richmond District. On Sundays, my family and I would get dressed up to attend Russian Orthodox church on Geary Street, buy olivier salad and pickled cabbage by the pound at \u003ca href=\"https://www.newworldmarketsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New World Market\u003c/a> and take in the aromas of pirozhki and other baked goods at \u003ca href=\"http://cinderellabakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Bakery\u003c/a>.\u003c/p>\n\u003cp>With bellies full, we’d stroll down Balboa Street to \u003ca href=\"https://www.globusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Globus Books\u003c/a>, the Russian bookstore that feels like a time capsule, with its Persian rugs, towering shelves of dusty tomes and a distinctive old-library scent. As a child, I delighted in Soviet-era picture books like \u003cem>Dyadya Fyodor\u003c/em>, about a precocious boy who runs away from home to live with a dog and cat. In my teen years, I explored intimidating stacks of classics by Dostoevsky and Bulgakov, and art books from the Hermitage Museum of my native Saint Petersburg. And in my early twenties, I tripped out on Victor Pelevin’s drug-addled, darkly funny Gen X novel \u003cem>Generation P \u003c/em>(the P standing for \u003cem>pizdetz\u003c/em>, or screwed).\u003c/p>\n\u003cp>Globus, opened in 1971, has remarkably stood the test of time, serving several generations of Russian immigrants, including those who came as Jewish refugees during the ’70s and ’80s, and the rest that followed after the collapse of the Soviet Union in 1991.\u003c/p>\n\u003cp>Yet as the Richmond District changes, and as the Russian community gets priced out along with other immigrant populations in San Francisco, the decidedly niche business has found itself in need of switching up its approach as it enters a new decade, hoping to preserve its older generation of customers while attracting younger readers and non-Russian speakers.\u003c/p>\n\u003cfigure id=\"attachment_13873164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4241-800x533.jpg\" alt=\"Globus Books has been a cornerstone of the Bay Area's Russian community since 1971.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus Books has been a cornerstone of the Bay Area’s Russian community since 1971. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For new owner Pavel Chepyzhov and managers Julie Kulyamzina and Zarina Zabrisky, that means embracing the diversity of the Bay Area’s Russian-speaking community, as well as people curious about Russian culture and literature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“On one side you have Russian speakers who came from China after the second world war, and they are very different from the Russian speakers who are immigrating right now to Silicon Valley,” Chepyzhov offers, adding that Georgian and Armenian cultures also occupy a prominent place within the Bay Area’s Russian-speaking world. “They have a lot of books in common and Globus could be the place where they all could meet.”\u003c/span>\u003c/p>\n\u003cp>Books about Russian feminism and LGBTQ+ people have also recently made their way onto Globus’ shelves. And the store now has a growing English-language section on Russia and the former Soviet Union. (On my last visit, I picked up Lydia B. Zaverukha and Nina Bogdan’s visually stunning \u003cem>Russian San Francisco\u003c/em>, full of historical photos dating back to 1840.) One of the goals, Chepyzhov says, is to spread awareness about the culture beyond what Americans hear in the news.\u003c/p>\n\u003cp>“Unfortunately the Russian politics, of course, doesn’t get the best media for obvious reasons,” he says. “But I think talking about books and about culture—this is what we want to promote, this is what is appreciated in the U.S.”\u003c/p>\n\u003cp>Zabrisky, a writer known for her work with progressive activist group the Arts Resistance, is in charge of new event programming for the space, including author talks, readings and screenings coming later in the year. The first new event series is story time for toddlers, happening every Wednesday at 10:30am starting Feb. 5. It fulfills a core part of Globus’ mission to help Russian-speaking parents pass on their language and culture to the next generation.\u003c/p>\n\u003cp>“We’re in love with this bookstore, with its history, its accomplishments and what it is for the Russian community here,” says Kulyamzina.\u003c/p>\n\u003cp>She and Chepyzhov, both from Moscow, are antiquarian book specialists who spent the last several years frequenting Globus during trips to book fairs on the West Coast. Globus founder Vladimir Azar originally ran a publishing house focused on Russian immigrant authors, earning the shop a cult following among Russian-speaking bibliophiles around the world.\u003c/p>\n\u003cp>https://www.instagram.com/p/B5gdLgCpxse/\u003c/p>\n\u003cp>Last year, Chepyzhov learned that former owner Veronica Ahrens-Pulawski, who presided over Globus’ shelves since the early ’80s, was looking to retire and sell the business.\u003c/p>\n\u003cp>“It took me maybe 10 minutes to draft a plan in my head of how we could work together on that and try to keep Globus alive, and try to keep this business going,” he says, adding that Ahrens-Pulawski—whose dynamic personality has long been a draw for Globus’ loyal customer base—still helps out twice a week.\u003c/p>\n\u003cp>The new Globus team’s progressive vision is a rarity for the Russian-speaking immigrant community in the United States, which leans conservative; older generations who escaped communist rule have an aversion to anything that sounds remotely socialist. If San Francisco’s Russian newspaper \u003cem>Kstati\u003c/em> (full of right-wing op-eds written in the key of “well actually”) is any indication, it’s likely that many of San Francisco’s Russian-speaking immigrants voted in the 2016 election along similar lines to those in New York’s Brighton Beach, the biggest \u003ca href=\"https://www.brickunderground.com/live/how-did-your-neighborhood-vote\" target=\"_blank\" rel=\"noopener noreferrer\">patch of red\u003c/a> in mostly blue Brooklyn.\u003c/p>\n\u003cp>Yet Chepyzhov says there’s more than enough room for diverse voices and perspectives at Globus. “It’s one of our goals to show the alternative side of things,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13873175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4204-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus managers Julie Kulyamzina (left) and Zarina Zabrisky (right). \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points to portions of the Russian-speaking immigrant community that are rarely mentioned in the media—such as queer and trans asylum seekers escaping anti-gay laws. Reports of \u003ca href=\"https://time.com/5633588/anti-gay-purge-chechnya-victim/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-gay purges\u003c/a> came out of Chechnya as recently as last year, prompting international protests in solidarity. And in the Russian Federation, a 2013 law banning “gay propaganda” diminished LGBTQ+ people’s civil rights protections while legitimizing already-rampant homophobia within the culture.\u003c/p>\n\u003cp>“We try to do our bit supporting LGBT causes here and in Russia,” says Chepyzhov. “We would like to represent these people as well.”\u003c/p>\n\u003cp>Chepyzhov still lives in Moscow and comes to San Francisco to run the store for months at a time throughout the year. While he was away the last few months, Zabrisky and Kulyamzina gave Globus’ shelves a makeover. Books by neo-fascist Russian political strategist Aleksandr Dugin, for instance, have gone into storage, while a biography of Barack Obama and a history of change-making women in Russian history are now prominently on display.\u003c/p>\n\u003cp>“We don’t want to be censors, but we don’t want to promote views that are harmful to society,” says Zabrisky.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We don’t want to scare away the customers who’ve been coming in for decades, we still have books for them,” says Kulyamzina. “But we also want to attract a new generation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many Russian immigrants who came to the Bay Area in the 1990s, my childhood was full of weekly pilgrimages to San Francisco’s Richmond District. On Sundays, my family and I would get dressed up to attend Russian Orthodox church on Geary Street, buy olivier salad and pickled cabbage by the pound at \u003ca href=\"https://www.newworldmarketsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New World Market\u003c/a> and take in the aromas of pirozhki and other baked goods at \u003ca href=\"http://cinderellabakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Bakery\u003c/a>.\u003c/p>\n\u003cp>With bellies full, we’d stroll down Balboa Street to \u003ca href=\"https://www.globusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Globus Books\u003c/a>, the Russian bookstore that feels like a time capsule, with its Persian rugs, towering shelves of dusty tomes and a distinctive old-library scent. As a child, I delighted in Soviet-era picture books like \u003cem>Dyadya Fyodor\u003c/em>, about a precocious boy who runs away from home to live with a dog and cat. In my teen years, I explored intimidating stacks of classics by Dostoevsky and Bulgakov, and art books from the Hermitage Museum of my native Saint Petersburg. And in my early twenties, I tripped out on Victor Pelevin’s drug-addled, darkly funny Gen X novel \u003cem>Generation P \u003c/em>(the P standing for \u003cem>pizdetz\u003c/em>, or screwed).\u003c/p>\n\u003cp>Globus, opened in 1971, has remarkably stood the test of time, serving several generations of Russian immigrants, including those who came as Jewish refugees during the ’70s and ’80s, and the rest that followed after the collapse of the Soviet Union in 1991.\u003c/p>\n\u003cp>Yet as the Richmond District changes, and as the Russian community gets priced out along with other immigrant populations in San Francisco, the decidedly niche business has found itself in need of switching up its approach as it enters a new decade, hoping to preserve its older generation of customers while attracting younger readers and non-Russian speakers.\u003c/p>\n\u003cfigure id=\"attachment_13873164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4241-800x533.jpg\" alt=\"Globus Books has been a cornerstone of the Bay Area's Russian community since 1971.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus Books has been a cornerstone of the Bay Area’s Russian community since 1971. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For new owner Pavel Chepyzhov and managers Julie Kulyamzina and Zarina Zabrisky, that means embracing the diversity of the Bay Area’s Russian-speaking community, as well as people curious about Russian culture and literature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“On one side you have Russian speakers who came from China after the second world war, and they are very different from the Russian speakers who are immigrating right now to Silicon Valley,” Chepyzhov offers, adding that Georgian and Armenian cultures also occupy a prominent place within the Bay Area’s Russian-speaking world. “They have a lot of books in common and Globus could be the place where they all could meet.”\u003c/span>\u003c/p>\n\u003cp>Books about Russian feminism and LGBTQ+ people have also recently made their way onto Globus’ shelves. And the store now has a growing English-language section on Russia and the former Soviet Union. (On my last visit, I picked up Lydia B. Zaverukha and Nina Bogdan’s visually stunning \u003cem>Russian San Francisco\u003c/em>, full of historical photos dating back to 1840.) One of the goals, Chepyzhov says, is to spread awareness about the culture beyond what Americans hear in the news.\u003c/p>\n\u003cp>“Unfortunately the Russian politics, of course, doesn’t get the best media for obvious reasons,” he says. “But I think talking about books and about culture—this is what we want to promote, this is what is appreciated in the U.S.”\u003c/p>\n\u003cp>Zabrisky, a writer known for her work with progressive activist group the Arts Resistance, is in charge of new event programming for the space, including author talks, readings and screenings coming later in the year. The first new event series is story time for toddlers, happening every Wednesday at 10:30am starting Feb. 5. It fulfills a core part of Globus’ mission to help Russian-speaking parents pass on their language and culture to the next generation.\u003c/p>\n\u003cp>“We’re in love with this bookstore, with its history, its accomplishments and what it is for the Russian community here,” says Kulyamzina.\u003c/p>\n\u003cp>She and Chepyzhov, both from Moscow, are antiquarian book specialists who spent the last several years frequenting Globus during trips to book fairs on the West Coast. Globus founder Vladimir Azar originally ran a publishing house focused on Russian immigrant authors, earning the shop a cult following among Russian-speaking bibliophiles around the world.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, Chepyzhov learned that former owner Veronica Ahrens-Pulawski, who presided over Globus’ shelves since the early ’80s, was looking to retire and sell the business.\u003c/p>\n\u003cp>“It took me maybe 10 minutes to draft a plan in my head of how we could work together on that and try to keep Globus alive, and try to keep this business going,” he says, adding that Ahrens-Pulawski—whose dynamic personality has long been a draw for Globus’ loyal customer base—still helps out twice a week.\u003c/p>\n\u003cp>The new Globus team’s progressive vision is a rarity for the Russian-speaking immigrant community in the United States, which leans conservative; older generations who escaped communist rule have an aversion to anything that sounds remotely socialist. If San Francisco’s Russian newspaper \u003cem>Kstati\u003c/em> (full of right-wing op-eds written in the key of “well actually”) is any indication, it’s likely that many of San Francisco’s Russian-speaking immigrants voted in the 2016 election along similar lines to those in New York’s Brighton Beach, the biggest \u003ca href=\"https://www.brickunderground.com/live/how-did-your-neighborhood-vote\" target=\"_blank\" rel=\"noopener noreferrer\">patch of red\u003c/a> in mostly blue Brooklyn.\u003c/p>\n\u003cp>Yet Chepyzhov says there’s more than enough room for diverse voices and perspectives at Globus. “It’s one of our goals to show the alternative side of things,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13873175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4204-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus managers Julie Kulyamzina (left) and Zarina Zabrisky (right). \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points to portions of the Russian-speaking immigrant community that are rarely mentioned in the media—such as queer and trans asylum seekers escaping anti-gay laws. Reports of \u003ca href=\"https://time.com/5633588/anti-gay-purge-chechnya-victim/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-gay purges\u003c/a> came out of Chechnya as recently as last year, prompting international protests in solidarity. And in the Russian Federation, a 2013 law banning “gay propaganda” diminished LGBTQ+ people’s civil rights protections while legitimizing already-rampant homophobia within the culture.\u003c/p>\n\u003cp>“We try to do our bit supporting LGBT causes here and in Russia,” says Chepyzhov. “We would like to represent these people as well.”\u003c/p>\n\u003cp>Chepyzhov still lives in Moscow and comes to San Francisco to run the store for months at a time throughout the year. While he was away the last few months, Zabrisky and Kulyamzina gave Globus’ shelves a makeover. Books by neo-fascist Russian political strategist Aleksandr Dugin, for instance, have gone into storage, while a biography of Barack Obama and a history of change-making women in Russian history are now prominently on display.\u003c/p>\n\u003cp>“We don’t want to be censors, but we don’t want to promote views that are harmful to society,” says Zabrisky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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