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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we did this campaign two years ago, there wasn’t a lot of representation in animated projects,” Cherry says. “You know, oftentimes they would cast actors of color, but, you know, they’d be playing inanimate objects or animals. And, you know, it was rarely, like, actually seeing a family dynamic in animation.”\u003c/p>\n\u003cp>He notes that there are films like Disney’s \u003cem>The Princess and the Frog \u003c/em>and \u003cem>Home, \u003c/em>which features Rihanna, but Cherry says he wanted to give audiences an animated black family.\u003c/p>\n\u003cp>“I think it does also a lot for young people’s confidence when they see themselves represented,” Cherry says. “You know, media is so powerful. And when you grow up and see magazine covers and TV shows and movies and you don’t see yourself represented, but you see every other type of hairstyle represented, that can really affect your self-confidence.”\u003c/p>\n\u003cp>Cherry says he has heard from both young girls and boys, as well as fathers and mothers who aren’t African American — all of whom have connected with the short.\u003c/p>\n\u003cp>Though he isn’t a father himself, Cherry says it was important to him to show a black man in a loving, tender role.\u003c/p>\n\u003cp>“We really get a bad rap in mainstream media, particularly black fathers,” he says. “There’s always the stereotype that we’re not present or deadbeats. … And while obviously those situations do exist, it feels very much so that it’s just like disproportionately represented in that way.”\u003c/p>\n\u003cp>But that’s not the kind of fathers his friends are, so Cherry channeled their experiences when creating \u003cem>Hair Love. \u003c/em>\u003c/p>\n\u003cp>“I have a lot of friends that are young fathers, and they’re all willing to do whatever it takes for their young girls,” he says. “This was just kind of me put[ting] myself in their shoes and kind of representing and also really being inspired by all these viral videos of dads doing their daughter’s hair and people just really being fascinated by that.”\u003c/p>\n\u003cp>Prior to \u003cem>Hair Love, \u003c/em>Cherry worked as an executive producer on Spike Lee’s \u003cem>BlacKkKlansman.\u003c/em> He also worked on commercials and music videos, and before that, he played in the NFL.\u003c/p>\n\u003cp>While creating the \u003cem>Hair Love \u003c/em>book and short, Cherry kept in mind his own experience with natural hair during his time in the NFL.\u003c/p>\n\u003cp>“I had my hair long enough to where it could be braided,” he says. “Every week I’d have to go and get it worked on and stuff. So, you know, I think for both men and women, it’s definitely something that’s a big part of our life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Richmond Censors Critiques of Trump in Public Art Project",
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"content": "\u003cp>For just five nights, the north wall of Richmond’s Memorial Auditorium belongs not to the city, but to the people of Richmond. Between the hours of 8 and 11pm, Aug. 21–25, \u003ca href=\"https://www.christychan.com/\" target=\"_blank\" rel=\"noopener\">Christy Chan\u003c/a>’s public art piece \u003ci>\u003ca href=\"https://www.insideoutrichmond.org/\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>\u003c/i> projects a looping video of large text onto the auditorium’s brick tower, all phrases collected from Richmond residents. The 75-minute video includes personal aspirations, dreams for Richmond, worries about the fate of the planet, messages of forgiveness and notes of encouragement.\u003c/p>\n\u003cp>But markedly absent from the projection are any submissions critical of President Trump or his government’s policies. Instead, a message appears in blue: “The city of Richmond has banned us from projecting phrases you submitted that criticize the President of the United States by name. Of the 1,100 phrases submitted many have shown viewpoints on the president in both English and Spanish.”\u003c/p>\n\u003cp>Large red bars block out the six phrases that follow, rendering them illegible.\u003c/p>\n\u003cp>“I think it’s important that people know those voices existed, even if I can’t physically project them in the work,” Chan says. “I want to illuminate their absence.”\u003c/p>\n\u003cfigure id=\"attachment_13864758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg\" alt=\"The "disclaimer" Chan inserted into the 'Inside Out' video following the city attorney's recommendation to remove a phrase critical of the president.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The “disclaimer” Chan inserted into the ‘Inside Out’ video following the city attorney’s recommendation to remove a phrase critical of the president. \u003ccite>(James Ken Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Inside Out\u003c/i> received its submissions during public workshops conducted in English, Spanish and Mandarin Chinese, and via an online portal. The project catchphrase is “Speak your truth.” Prompts for phrases (limited to seven words or less) include “Tell us your life story,” “Thank someone for doing something great for you,” and “I worry about _____.”\u003c/p>\n\u003cp>After a month of collecting submissions, Chan distilled the phrases down to a representative group of 100, which she presented for review to the Richmond Arts and Culture Commission (RACC) at their July 23 meeting, per her grant contract with the city. The commission accepted all the phrases except for one: “Donald Trump, te perdono por rasista” [sic] (essentially, “I forgive Donald Trump for being racist”).\u003c/p>\n\u003cp>Chan says she included this particular phrase in the winnowed-down group because of its poetic quality. “I felt like it encompassed a lot of what other people were saying, but in a new way,” Chan says. “There were a lot of statements alluding to Trump being racist.” She estimates between 40 and 50 submissions of the 1,100 referred to the president by name—many of them critical.\u003c/p>\n\u003cp>Yet, Chan notes, “Everyone was very respectful in their submissions, no one was saying profane things. I was really moved by how thoughtful some of the phrases were.”\u003c/p>\n\u003cfigure id=\"attachment_13864759\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864759\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg\" alt=\"Chan (second from right) at a workshop for 'Inside Out' at NIAD, one of several Richmond community partners that facilitated the project's submission gathering.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Chan (second from right) at a workshop for ‘Inside Out’ at NIAD, one of several Richmond community partners that facilitated the project’s submission gathering. \u003ccite>(Ellen Gailing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michele Seville, arts and culture manager for the Richmond Arts & Culture Division, who shepherded the project to completion, says the RACC was cautious in part because they were unsure about official policies regarding political statements on city buildings. It might be easy to dismiss the city’s response as alarmist censorship, but such decisions are complicated by the \u003ca href=\"https://www.kqed.org/news/11684223/us-appeals-court-rules-trump-sanctuary-cities-order-illegal\" target=\"_blank\" rel=\"noopener\">president’s own attempts\u003c/a> to withhold federal funding from cities like Richmond.\u003c/p>\n\u003cp>“Richmond is a sanctuary city, and they didn’t want to jeopardize its status or its state/federal benefits,” says Seville.\u003c/p>\n\u003cp>In fact, several participants in the project disclosed their undocumented status to Chan, who says the option to submit phrases anonymously gave people the freedom to say what was really on their minds. \u003ca href=\"https://www.census.gov/quickfacts/richmondcitycalifornia\" target=\"_blank\" rel=\"noopener\">Recent census data\u003c/a> shows over 35 percent of Richmond’s residents are foreign born.\u003c/p>\n\u003cp>In the weeks that followed the July meeting, the city attorney’s office reviewed the phrase and recommended removing it from the public presentation. “They advised that it was best not to include it unless it was approved by both the RACC and the Richmond City Council,” Seville says.\u003c/p>\n\u003cp>The city’s summer schedule prevented any such approval. “There wasn’t time to get the art commission to approve it before the quotes were projected, and the city council does not meet during the month of August,” Seville explains. “So, the time for responding would be after \u003cem>Inside Out\u003c/em> was finished.”\u003c/p>\n\u003cp>Instead, Seville encouraged Chan to include mention of the phrase’s elimination in the final video. “I need to work within the boundaries of city policy and respect its decisions even when they might not be shared by myself or others,” Seville says.\u003c/p>\n\u003cp>https://vimeo.com/355516291\u003c/p>\n\u003cp>\u003ci>Courtesy of Inside Out / Christy Chan\u003c/i>\u003c/p>\n\u003cp>(Interestingly, a phrase that reads simply, “No more celebrity presidents” did not garner any objections from the RACC.)\u003c/p>\n\u003cp>Ultimately, not knowing the specific content of the phrases covered by red bars lends \u003ci>Inside Out\u003c/i> a subversive potency. Following phrases like “I dream of swimming in Mexico,” “Who will fight for us when we are all gone?” and “Nosotros immigrantes no somos delinquentes” (“We immigrants are not criminals”), it’s easy to imagine what the censored statements read. Their absence speaks volumes—about whose voices are amplified in public discourse, and whose are silenced.\u003c/p>\n\u003cp>“I feel invisible most of the time, I would like the opportunity to speak my mind,” one participant in the project wrote of their experience with \u003ci>Inside Out\u003c/i>. “We are Richmond, we need to be heard,” wrote another.\u003c/p>\n\u003cp>Seville agrees with these sentiments, “This project is truly the voice of the people.”\u003c/p>\n\u003cp>Though frustrated by the city’s decision, Chan encourages other artists to take on the challenge of public art projects. “I have deep respect for what art can do for communities,” she writes in a statement posted to the \u003ci>Inside Out\u003c/i> website on Aug. 23. “Community art is worth making.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Inside Out’ is on view through Aug. 25, 8–11pm nightly. A reception will be held Saturday, Aug. 24, 7–9:30pm at the Richmond Art Center. \u003ca href=\"http://richmondartcenter.org/event/inside-out-community-party/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For just five nights, the north wall of Richmond’s Memorial Auditorium belongs not to the city, but to the people of Richmond. Between the hours of 8 and 11pm, Aug. 21–25, \u003ca href=\"https://www.christychan.com/\" target=\"_blank\" rel=\"noopener\">Christy Chan\u003c/a>’s public art piece \u003ci>\u003ca href=\"https://www.insideoutrichmond.org/\" target=\"_blank\" rel=\"noopener\">Inside Out\u003c/a>\u003c/i> projects a looping video of large text onto the auditorium’s brick tower, all phrases collected from Richmond residents. The 75-minute video includes personal aspirations, dreams for Richmond, worries about the fate of the planet, messages of forgiveness and notes of encouragement.\u003c/p>\n\u003cp>But markedly absent from the projection are any submissions critical of President Trump or his government’s policies. Instead, a message appears in blue: “The city of Richmond has banned us from projecting phrases you submitted that criticize the President of the United States by name. Of the 1,100 phrases submitted many have shown viewpoints on the president in both English and Spanish.”\u003c/p>\n\u003cp>Large red bars block out the six phrases that follow, rendering them illegible.\u003c/p>\n\u003cp>“I think it’s important that people know those voices existed, even if I can’t physically project them in the work,” Chan says. “I want to illuminate their absence.”\u003c/p>\n\u003cfigure id=\"attachment_13864758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864758\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg\" alt=\"The "disclaimer" Chan inserted into the 'Inside Out' video following the city attorney's recommendation to remove a phrase critical of the president.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/InsideOut_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The “disclaimer” Chan inserted into the ‘Inside Out’ video following the city attorney’s recommendation to remove a phrase critical of the president. \u003ccite>(James Ken Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Inside Out\u003c/i> received its submissions during public workshops conducted in English, Spanish and Mandarin Chinese, and via an online portal. The project catchphrase is “Speak your truth.” Prompts for phrases (limited to seven words or less) include “Tell us your life story,” “Thank someone for doing something great for you,” and “I worry about _____.”\u003c/p>\n\u003cp>After a month of collecting submissions, Chan distilled the phrases down to a representative group of 100, which she presented for review to the Richmond Arts and Culture Commission (RACC) at their July 23 meeting, per her grant contract with the city. The commission accepted all the phrases except for one: “Donald Trump, te perdono por rasista” [sic] (essentially, “I forgive Donald Trump for being racist”).\u003c/p>\n\u003cp>Chan says she included this particular phrase in the winnowed-down group because of its poetic quality. “I felt like it encompassed a lot of what other people were saying, but in a new way,” Chan says. “There were a lot of statements alluding to Trump being racist.” She estimates between 40 and 50 submissions of the 1,100 referred to the president by name—many of them critical.\u003c/p>\n\u003cp>Yet, Chan notes, “Everyone was very respectful in their submissions, no one was saying profane things. I was really moved by how thoughtful some of the phrases were.”\u003c/p>\n\u003cfigure id=\"attachment_13864759\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864759\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg\" alt=\"Chan (second from right) at a workshop for 'Inside Out' at NIAD, one of several Richmond community partners that facilitated the project's submission gathering.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/ChistyChan_NIAD_1200-768x432.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Chan (second from right) at a workshop for ‘Inside Out’ at NIAD, one of several Richmond community partners that facilitated the project’s submission gathering. \u003ccite>(Ellen Gailing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michele Seville, arts and culture manager for the Richmond Arts & Culture Division, who shepherded the project to completion, says the RACC was cautious in part because they were unsure about official policies regarding political statements on city buildings. It might be easy to dismiss the city’s response as alarmist censorship, but such decisions are complicated by the \u003ca href=\"https://www.kqed.org/news/11684223/us-appeals-court-rules-trump-sanctuary-cities-order-illegal\" target=\"_blank\" rel=\"noopener\">president’s own attempts\u003c/a> to withhold federal funding from cities like Richmond.\u003c/p>\n\u003cp>“Richmond is a sanctuary city, and they didn’t want to jeopardize its status or its state/federal benefits,” says Seville.\u003c/p>\n\u003cp>In fact, several participants in the project disclosed their undocumented status to Chan, who says the option to submit phrases anonymously gave people the freedom to say what was really on their minds. \u003ca href=\"https://www.census.gov/quickfacts/richmondcitycalifornia\" target=\"_blank\" rel=\"noopener\">Recent census data\u003c/a> shows over 35 percent of Richmond’s residents are foreign born.\u003c/p>\n\u003cp>In the weeks that followed the July meeting, the city attorney’s office reviewed the phrase and recommended removing it from the public presentation. “They advised that it was best not to include it unless it was approved by both the RACC and the Richmond City Council,” Seville says.\u003c/p>\n\u003cp>The city’s summer schedule prevented any such approval. “There wasn’t time to get the art commission to approve it before the quotes were projected, and the city council does not meet during the month of August,” Seville explains. “So, the time for responding would be after \u003cem>Inside Out\u003c/em> was finished.”\u003c/p>\n\u003cp>Instead, Seville encouraged Chan to include mention of the phrase’s elimination in the final video. “I need to work within the boundaries of city policy and respect its decisions even when they might not be shared by myself or others,” Seville says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Courtesy of Inside Out / Christy Chan\u003c/i>\u003c/p>\n\u003cp>(Interestingly, a phrase that reads simply, “No more celebrity presidents” did not garner any objections from the RACC.)\u003c/p>\n\u003cp>Ultimately, not knowing the specific content of the phrases covered by red bars lends \u003ci>Inside Out\u003c/i> a subversive potency. Following phrases like “I dream of swimming in Mexico,” “Who will fight for us when we are all gone?” and “Nosotros immigrantes no somos delinquentes” (“We immigrants are not criminals”), it’s easy to imagine what the censored statements read. Their absence speaks volumes—about whose voices are amplified in public discourse, and whose are silenced.\u003c/p>\n\u003cp>“I feel invisible most of the time, I would like the opportunity to speak my mind,” one participant in the project wrote of their experience with \u003ci>Inside Out\u003c/i>. “We are Richmond, we need to be heard,” wrote another.\u003c/p>\n\u003cp>Seville agrees with these sentiments, “This project is truly the voice of the people.”\u003c/p>\n\u003cp>Though frustrated by the city’s decision, Chan encourages other artists to take on the challenge of public art projects. “I have deep respect for what art can do for communities,” she writes in a statement posted to the \u003ci>Inside Out\u003c/i> website on Aug. 23. “Community art is worth making.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘Inside Out’ is on view through Aug. 25, 8–11pm nightly. A reception will be held Saturday, Aug. 24, 7–9:30pm at the Richmond Art Center. \u003ca href=\"http://richmondartcenter.org/event/inside-out-community-party/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\u003c/p>\n\u003cp>https://youtu.be/ellK-CXh7B4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\n\u003cp>https://twitter.com/kellyclarkson/status/1150168164853882880\u003c/p>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\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/ellK-CXh7B4'\n title='//www.youtube.com/embed/ellK-CXh7B4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tommy Orange’s novel “There There” and Jeffrey C. Stewart’s biography of Harlem Renaissance thinker Alain Locke are among this year’s winners of American Book Awards, given for works that highlight the diversity of the country’s literature.\u003c/p>\n\u003cp>[aside tag='tommy-orange,there-there' label='More Stories You Might Like']\u003c/p>\n\u003cp>The awards were announced Monday by the Before Columbus Foundation, founded in 1976 by author Ishmael Reed.\u003c/p>\n\u003cp>Orange’s debut novel was among the most acclaimed works of 2018. Stewart’s “The New Negro: The Life of Alain Locke” won the Pulitzer Prize.\u003c/p>\n\u003cp>Other winners Monday include Halifu Osumare’s memoir “Dancing in Blackness,” Ángel García’s poetry book “Teeth Never Sleep” and William T. Vollmann’s nonfiction work on climate change, “Carbon Ideologies.”\u003c/p>\n\u003cp>The educator and psychologist Nathan Hare was given a lifetime achievement award. His books include “The Black Anglo-Saxons” and “The Endangered Black Family.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "In 'An American Sunrise,' Joy Harjo Speaks With A Timeless Compassion",
"headTitle": "In ‘An American Sunrise,’ Joy Harjo Speaks With A Timeless Compassion | KQED",
"content": "\u003cp>There is occasional confusion about the nature of the United States poet laureateship: The selection of laureate has nothing to do with the president.\u003c/p>\n\u003cp>The poet is selected by the Librarian of Congress, meaning the laureate works for a completely different branch of the government. This is a smart and useful separation of powers: An advocate of free speech and education should not be beholden to a president, especially this one.\u003c/p>\n\u003cp>While I do not believe that Joy Harjo’s recent appointment to the laureateship was intended as an explicit rebuke to President Trump, the poetry in her new book, \u003cem>An American Sunrise\u003c/em>, casts an undeniably critical eye on the kinds of policies — and people — Trump tends to support.\u003c/p>\n\u003cp>The first Native American to hold the laureateship, Harjo recalls and laments the violence and displacement that has marked hundreds of years of Native American history: “The children were stolen from these beloved lands by the government./ … / …they were lined up to sleep alone in their army-issued cages.” She’s talking about Native American children forced from their homes in the 19th century, but it’s hard to imagine she does not also mean to call to mind the present horrors at the Southern border.\u003c/p>\n\u003cfigure id=\"attachment_13864505\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg\" alt=\"'An American Sunrise' book of poetry by Joy Harjo.\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘An American Sunrise’ book of poetry by Joy Harjo.\u003c/figcaption>\u003c/figure>\n\u003cp>Harjo began publishing poetry in the 1970s and has many collections, as well as a memoir, to her name. She belongs to the Muscogee Nation, has won lots of the major honors available to an American poet, and lives in Oklahoma. Her poems are accessible and easy to read, but making them no less penetrating and powerful, spoken from a deep and timeless source of compassion for all — but also from a very specific and justified well of anger: “They kill what they cannot take. They rape. What they cannot kill they take.” \u003cem>They\u003c/em> are white settlers, the soldiers pushing westward, forcing Native Americans from their homes, destroying their families and cultures. \u003cem>They\u003c/em> are also \u003cem>us\u003c/em>. “I returned,” Harjo writes, acknowledging this book’s act of imaginative memory, “to see what I find, in these lands we were forced to leave behind.”\u003c/p>\n\u003cp>The book opens with a long poem that blurs the distinction — to my ears at least — between historical Native Americans and contemporary situations where people are trying to cross borders into a new life. It then weaves through lyrics, songs, prose interludes, and meditations that mix history — the poet’s ancestor, the tribal leader and warrior Monahwee is a recurring character — personal recollection, and urgent calls for spiritual awakening and action: “Someone is always leaving/ By exile, death, or heartbreak,” she writes in “Break My Heart.” “Police with their guns/ Cannot enter here to move us off our lands/ Or kill our babies.”\u003c/p>\n\u003cp>Despite its many resonances with the present situation in America, this book was not written as a commentary on the Trump presidency: The horrors it recounts, and the hopes it upholds, were here long before — and will remain long after. This is an old and ongoing story in which “Even when I dreamed, I dreamed a chain around my neck.”\u003c/p>\n\u003cp>Harjo tells the tale of a fierce and ongoing fight for sovereignty, integrity, and basic humanity, a plea that we as Americans take responsibility for what’s been — and being done — in our names. Her work is also a stark reminder of what poetry is for and what it can do: how it can hold contradictory truths in mind, how it keeps the things we ought not to forget alive and present.\u003c/p>\n\u003cp>“What we speak always returns,” she writes, “With a spike of barbs/ Or the sweet taste of berries in summer.” We need — and deserve — both those barbs and berries right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author, most recently, of the poetry collection \u003c/em>The Trembling Answers\u003cem> and a collection of essays \u003c/em>We Begin In Gladness: How Poets Progress.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is occasional confusion about the nature of the United States poet laureateship: The selection of laureate has nothing to do with the president.\u003c/p>\n\u003cp>The poet is selected by the Librarian of Congress, meaning the laureate works for a completely different branch of the government. This is a smart and useful separation of powers: An advocate of free speech and education should not be beholden to a president, especially this one.\u003c/p>\n\u003cp>While I do not believe that Joy Harjo’s recent appointment to the laureateship was intended as an explicit rebuke to President Trump, the poetry in her new book, \u003cem>An American Sunrise\u003c/em>, casts an undeniably critical eye on the kinds of policies — and people — Trump tends to support.\u003c/p>\n\u003cp>The first Native American to hold the laureateship, Harjo recalls and laments the violence and displacement that has marked hundreds of years of Native American history: “The children were stolen from these beloved lands by the government./ … / …they were lined up to sleep alone in their army-issued cages.” She’s talking about Native American children forced from their homes in the 19th century, but it’s hard to imagine she does not also mean to call to mind the present horrors at the Southern border.\u003c/p>\n\u003cfigure id=\"attachment_13864505\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg\" alt=\"'An American Sunrise' book of poetry by Joy Harjo.\" width=\"400\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/an-american-sunrise-160x240.jpg 160w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">‘An American Sunrise’ book of poetry by Joy Harjo.\u003c/figcaption>\u003c/figure>\n\u003cp>Harjo began publishing poetry in the 1970s and has many collections, as well as a memoir, to her name. She belongs to the Muscogee Nation, has won lots of the major honors available to an American poet, and lives in Oklahoma. Her poems are accessible and easy to read, but making them no less penetrating and powerful, spoken from a deep and timeless source of compassion for all — but also from a very specific and justified well of anger: “They kill what they cannot take. They rape. What they cannot kill they take.” \u003cem>They\u003c/em> are white settlers, the soldiers pushing westward, forcing Native Americans from their homes, destroying their families and cultures. \u003cem>They\u003c/em> are also \u003cem>us\u003c/em>. “I returned,” Harjo writes, acknowledging this book’s act of imaginative memory, “to see what I find, in these lands we were forced to leave behind.”\u003c/p>\n\u003cp>The book opens with a long poem that blurs the distinction — to my ears at least — between historical Native Americans and contemporary situations where people are trying to cross borders into a new life. It then weaves through lyrics, songs, prose interludes, and meditations that mix history — the poet’s ancestor, the tribal leader and warrior Monahwee is a recurring character — personal recollection, and urgent calls for spiritual awakening and action: “Someone is always leaving/ By exile, death, or heartbreak,” she writes in “Break My Heart.” “Police with their guns/ Cannot enter here to move us off our lands/ Or kill our babies.”\u003c/p>\n\u003cp>Despite its many resonances with the present situation in America, this book was not written as a commentary on the Trump presidency: The horrors it recounts, and the hopes it upholds, were here long before — and will remain long after. This is an old and ongoing story in which “Even when I dreamed, I dreamed a chain around my neck.”\u003c/p>\n\u003cp>Harjo tells the tale of a fierce and ongoing fight for sovereignty, integrity, and basic humanity, a plea that we as Americans take responsibility for what’s been — and being done — in our names. Her work is also a stark reminder of what poetry is for and what it can do: how it can hold contradictory truths in mind, how it keeps the things we ought not to forget alive and present.\u003c/p>\n\u003cp>“What we speak always returns,” she writes, “With a spike of barbs/ Or the sweet taste of berries in summer.” We need — and deserve — both those barbs and berries right now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author, most recently, of the poetry collection \u003c/em>The Trembling Answers\u003cem> and a collection of essays \u003c/em>We Begin In Gladness: How Poets Progress.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a protracted legal battle, the Bay Area’s two biggest Broadway theater producers say they have made peace.\u003c/p>\n\u003cp>The owners of \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> and \u003ca href=\"https://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">The Curran\u003c/a> issued a joint statement on Monday, announcing an “amicable settlement” that draws to an end five years of litigation involving three San Francisco theaters: the Curran, the Orpheum and the Golden Gate.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We are thrilled to put these legal matters behind us, and continue doing what we do best: provide Bay Area residents and visitors with world class entertainment,” said Curran owner Carole Shorenstein Hays and SNH owner Robert Nederlander in their statement.\u003c/span>\u003c/p>\n\u003cp>The settlement comes nearly two months after the \u003ca href=\"https://courts.delaware.gov/Opinions/Download.aspx?id=291370\" target=\"_blank\" rel=\"noopener\">Supreme Court in Delaware\u003c/a>, where both companies are incorporated, ruled that the Curran had violated the terms of its 2014 non-compete agreement with SHN.\u003c/p>\n\u003cp>Under the terms of the new settlement, Hays has relinquished her financial stake in the Golden Gate and Orpheum theaters, and both parties may now book their respective venues without restriction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That applies to the upcoming production of \u003ca href=\"https://www.harrypottertheplay.com/san-francisco/\" target=\"_blank\" rel=\"noopener\">\u003cem>Harry Potter and the Cursed Child\u003c/em>\u003c/a>, scheduled to open at the Curran in October. The show, along with the Curran’s 2018 run of the Broadway hit musical \u003ca href=\"https://sfcurran.com/shows/dear-evan-hansen/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dear Evan Hansen\u003c/em>\u003c/a>, were at the heart of the recent lawsuit.\u003c/p>\n\u003cp>The news was greeted positively by members of the Bay Area theater community, including \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener\">Theatre Bay Area\u003c/a>, a regional service organization for the performing arts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are thrilled to hear that two of our most prominent members have worked out their differences,” said Theatre Bay Area executive director Brad Erickson. “And that Bay Area residents and visitors alike will continue to be enriched by the world-class theater offerings of these organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Science Nerds Get Their Geek on at This Year's Silicon Valley Comic Con",
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"content": "\u003cp>An estimated 70,000 are in San Jose this weekend for the fourth annual \u003ca href=\"https://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>. How is this con different from all the others? This one has established a reputation for appealing to science nerds, especially. \u003c/p>\n\u003cp>Materializing on the floor of San Jose’s Convention Center, I found \u003ca href=\"https://www.nasa.gov/content/kimberly-ennico-smith\" target=\"_blank\" rel=\"noopener\">Kimberly Ennico Smith\u003c/a>, a research astrophysicist at NASA Ames in Mountain View, who’s been involved in a number of cool missions over the years, like the one that found signs of water on the Moon.\u003c/p>\n\u003cp>“At the time, the Moon was thought to be bone dry. I’m just chuffed that I was part of rewriting the textbooks,” Smith said.\u003c/p>\n\u003cp>What’s she up to next? Just \u003ca href=\"https://www.nasa.gov/artemis\" target=\"_blank\" rel=\"noopener\">another mission to the Moon\u003c/a>, “to get wheels on the ground,” and continue exploring that water, “which still mystifies scientists today.”\u003c/p>\n\u003cfigure id=\"attachment_13864399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut.jpg\" alt=\"NASA Ames astrophysicist Kimberly Ennico Smith is a big fan of Star Trek. "Whenever I see, you know, the captain of the Enterprise saying 'Warp factor 5,' or 'Warp factor 6', boy, do I wish we were traveling the solar system and beyond at those speeds.It took nearly 10 years to send a probe to Pluto. I mean, that is a mission for the patient.”\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">NASA Ames astrophysicist Kimberly Ennico Smith is a big fan of Star Trek. “Whenever I see, you know, the captain of the Enterprise saying ‘Warp factor 5,’ or ‘Warp factor 6’, boy, do I wish we were traveling the solar system and beyond at those speeds.It took nearly 10 years to send a probe to Pluto. I mean, that is a mission for the patient.” \u003ccite>(Lowell Robinson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.nasa.gov/ames/science/key-staff\" target=\"_blank\" rel=\"noopener\">Jaya Bajpayee\u003c/a> is the Deputy Director for Science at NASA Ames, where she says she functions much like a chief operating officer at a company of roughly 450 people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13828634']Bajpayee is quick to note NASA is interested in more than space science. “We’re also big on life detection, and we lead the agency in space biology,” she said, adding that some of that research can be done on Earth, in extreme environments like the outer atmosphere and the Atacama Desert in South America.\u003c/p>\n\u003cp>“I think this is a great time to be in astrobiology, space biology, even astrophysics,” Bajpayee, sounding like an employer hungry for new talent.\u003c/p>\n\u003cp>People starstruck with real space travel were milling about the NASA Ames booth at Comic Con, including Jamila English, born and raised in San Jose.\u003c/p>\n\u003cfigure id=\"attachment_13864402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut.jpg\" alt='Jamila English, on the hunt for a job in the sciences, recalled a famous quote from actress, comedian and author Whoopi Goldberg: \"Without Star Trek, people would still think there were no black people in the future.”.' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jamila English, on the hunt for a job in the sciences, recalled a famous quote from actress, comedian and author Whoopi Goldberg: “Without Star Trek, people would still think there were no black people in the future.”. \u003ccite>(Lowell Robinson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_11418576']\u003c/p>\n\u003cp>“To all the science teachers at James Lick High School in East San Jose, thank you. I’ve always been interested since I was a little kid. Wanted to go to space camp. Wasn’t able to. So now that I have a masters in public policy, I want to work on space policy and I’m trying to figure that out.”\u003c/p>\n\u003cp>English adds the barriers to employment in science can seem “astronomical,” and seeing women in science speak on panels at Comic Con “eases the anxiety.”\u003c/p>\n\u003cp>Not to put too fine a point on it, but there is a natural affinity between real scientists and science fiction fans. As the copy for one of the panel discussions this weekend puts it, “The search for extraterrestrial life isn’t just science fiction. It’s a career.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Silicon Valley Comic Con runs August 16-18, 2019 at the San Jose McEnery Convention Center. \u003ca href=\"https://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An estimated 70,000 are in San Jose this weekend for the fourth annual \u003ca href=\"https://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con\u003c/a>. How is this con different from all the others? This one has established a reputation for appealing to science nerds, especially. \u003c/p>\n\u003cp>Materializing on the floor of San Jose’s Convention Center, I found \u003ca href=\"https://www.nasa.gov/content/kimberly-ennico-smith\" target=\"_blank\" rel=\"noopener\">Kimberly Ennico Smith\u003c/a>, a research astrophysicist at NASA Ames in Mountain View, who’s been involved in a number of cool missions over the years, like the one that found signs of water on the Moon.\u003c/p>\n\u003cp>“At the time, the Moon was thought to be bone dry. I’m just chuffed that I was part of rewriting the textbooks,” Smith said.\u003c/p>\n\u003cp>What’s she up to next? Just \u003ca href=\"https://www.nasa.gov/artemis\" target=\"_blank\" rel=\"noopener\">another mission to the Moon\u003c/a>, “to get wheels on the ground,” and continue exploring that water, “which still mystifies scientists today.”\u003c/p>\n\u003cfigure id=\"attachment_13864399\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864399\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut.jpg\" alt=\"NASA Ames astrophysicist Kimberly Ennico Smith is a big fan of Star Trek. "Whenever I see, you know, the captain of the Enterprise saying 'Warp factor 5,' or 'Warp factor 6', boy, do I wish we were traveling the solar system and beyond at those speeds.It took nearly 10 years to send a probe to Pluto. I mean, that is a mission for the patient.”\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38607_IMG_3297-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">NASA Ames astrophysicist Kimberly Ennico Smith is a big fan of Star Trek. “Whenever I see, you know, the captain of the Enterprise saying ‘Warp factor 5,’ or ‘Warp factor 6’, boy, do I wish we were traveling the solar system and beyond at those speeds.It took nearly 10 years to send a probe to Pluto. I mean, that is a mission for the patient.” \u003ccite>(Lowell Robinson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.nasa.gov/ames/science/key-staff\" target=\"_blank\" rel=\"noopener\">Jaya Bajpayee\u003c/a> is the Deputy Director for Science at NASA Ames, where she says she functions much like a chief operating officer at a company of roughly 450 people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bajpayee is quick to note NASA is interested in more than space science. “We’re also big on life detection, and we lead the agency in space biology,” she said, adding that some of that research can be done on Earth, in extreme environments like the outer atmosphere and the Atacama Desert in South America.\u003c/p>\n\u003cp>“I think this is a great time to be in astrobiology, space biology, even astrophysics,” Bajpayee, sounding like an employer hungry for new talent.\u003c/p>\n\u003cp>People starstruck with real space travel were milling about the NASA Ames booth at Comic Con, including Jamila English, born and raised in San Jose.\u003c/p>\n\u003cfigure id=\"attachment_13864402\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut.jpg\" alt='Jamila English, on the hunt for a job in the sciences, recalled a famous quote from actress, comedian and author Whoopi Goldberg: \"Without Star Trek, people would still think there were no black people in the future.”.' width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/RS38608_IMG_3335-qut-1200x800.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jamila English, on the hunt for a job in the sciences, recalled a famous quote from actress, comedian and author Whoopi Goldberg: “Without Star Trek, people would still think there were no black people in the future.”. \u003ccite>(Lowell Robinson/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“To all the science teachers at James Lick High School in East San Jose, thank you. I’ve always been interested since I was a little kid. Wanted to go to space camp. Wasn’t able to. So now that I have a masters in public policy, I want to work on space policy and I’m trying to figure that out.”\u003c/p>\n\u003cp>English adds the barriers to employment in science can seem “astronomical,” and seeing women in science speak on panels at Comic Con “eases the anxiety.”\u003c/p>\n\u003cp>Not to put too fine a point on it, but there is a natural affinity between real scientists and science fiction fans. As the copy for one of the panel discussions this weekend puts it, “The search for extraterrestrial life isn’t just science fiction. It’s a career.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Silicon Valley Comic Con runs August 16-18, 2019 at the San Jose McEnery Convention Center. \u003ca href=\"https://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[aside postID='arts_13807771,pop_98652' label='More on the Fondas']\u003c/p>\n\u003cp>Peter Fonda, the son of a Hollywood legend who became a movie star in his own right both writing and starring in counterculture classics like “Easy Rider,” has died. His family says in a statement that Fonda died Friday morning at his home in Los Angeles. He was 79.\u003c/p>\n\u003cp>The official cause of death was respiratory failure due to lung cancer.\u003c/p>\n\u003cp>Born into Hollywood royalty as Henry Fonda’s only son, Peter Fonda carved his own path with his non-conformist tendencies and earned an Oscar nomination for co-writing “Easy Rider.” He never won an Oscar but would later be nominated for best actor in “Ulee’s Gold.”\u003c/p>\n\u003cdiv class=\"Article\">\n\u003cp>The family says this is one of the saddest moments of their lives and asks for privacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n",
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"title": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’",
"headTitle": "Kahlil Joseph Broadcasts the Vastness of Black Life in ‘BLKNWS’ | KQED",
"content": "\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>[pullquote size='large']He resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.[/pullquote]\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s note: Please welcome a new monthly column from writer, editor and producer Ruth Gebreyesus, who will cover Bay Area arts and culture, with an eye towards the East Bay, for KQED Arts.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s no good reason to summarize or itemize Kahlil Joseph’s \u003cem>\u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">BLKNWS\u003c/a>\u003c/em>, a two-channel video installation now on view at Stanford University. Its density resists any such effort.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>In fact, there’s great relief in arriving at a show about blackness that isn’t attempting a frugal summary of its subject matter or extolling moral lessons through black bodies. But for the sake of fulfilling my duties as a messenger, here goes: \u003cem>BLKNWS\u003c/em> is a broadcast of black life in America expressed through abundant footage pulled from headline news, archival material, internet-native clips and Joseph’s own past films.\u003c/p>\n\u003cp>At a screening for the San Francisco Film Festival in April, Joseph explained he originally pitched \u003cem>BLKNWS\u003c/em> to television networks as a news program. With painter Henry Taylor and actress Amandla Stenberg, among others, as anchors, the broadcast reads more like a social media feed or a journey at the mercy of YouTube’s calculus than any news currently on TV.\u003c/p>\n\u003cp>On \u003cem>BLKNWS\u003c/em>, algorithmic chapters sway between disparate poles. Dystopian climate change headlines play alongside clips from \u003cem>Annihilation\u003c/em> and other catastrophe movies. Soon after, June Jordan sits at her desk reciting her poem “Song of the Law Abiding Citizen.”\u003c/p>\n\u003cp>“And I can’t pay the rent / but I sent 10,000 food stamps / back to the President and his beautiful wife,” she chants in her distinct birdsong, as the footage switches to a scene at the iconic dining table in Spike Lee’s \u003cem>Crooklyn\u003c/em>. In this case, the algorithm is Joseph’s own math, a living formula he edits and adds to at will, remotely via a server.\u003c/p>\n\u003cfigure id=\"attachment_13864256\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864256\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg\" alt=\"Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Kushner_Joseph_byTommyLau_08_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph speaking with Rachel Kushner at the 2019 San Francisco International Film Festival. \u003ccite>(Courtesy of Tommy Lau, SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If there’s one through line that connects Joseph’s art and film career thus far, it’s the presence of music. His earliest films found their way to the public through music videos he directed for Shabazz Palaces, Flying Lotus and FKA Twigs. In 2014, he debuted \u003cem>\u003ca href=\"https://www.moca.org/exhibition/kahlil-joseph-double-conscience\" target=\"_blank\" rel=\"noopener noreferrer\">m.A.A.d.\u003c/a>\u003c/em> at MOCA, a short film set to songs from Kendrick Lamar’s critically acclaimed 2012 album, \u003cem>Good Kid, M.A.A.D City\u003c/em>. Opening with Lamar’s family home videos, shot just a month before the 1992 L.A. riots, and continuing with clips of quotidian life Joseph captured after the album’s release, \u003cem>m.A.A.d.\u003c/em> paints a portrait of Compton as if it were recollected from communal memory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A shot of a young man taking a swig at a block party switches to him dancing at the concrete mouth of the L.A. River for a few seconds then back to the block party again. It’s a signature rhythm of Joseph’s, a loyalty to emotional time over the logic of a ticking clock. It’s the difference between how warm it is and how warm it feels. Between going fast and flying.\u003c/p>\n\u003cp>\u003cem>BLKNWS\u003c/em> leans further into that pace with synchronized screens and a keen awareness of how we digest information in the age of social media: how we jump from joy to terror in the space of a click or a scroll. Joseph must understand our tolerance for those emotional swings has transformed into an appetite. As he travels through visuals and sounds from the black zeitgeist into smaller, intimate moments of home life, shifting between cosmic and cellular scales, he resists the urge towards a conclusion about blackness. It is everything he’s showed and much more.\u003c/p>\n\u003cfigure id=\"attachment_13864258\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg\" alt=\"Kahlil Joseph, 'BLKNWS,' 2018; Still from 2-channel broadcast.\" width=\"1200\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-800x225.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-768x216.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/BLKNWS_Stanford_Final_Web_Diptych_1200-1020x287.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kahlil Joseph, ‘BLKNWS,’ 2018; Still from 2-channel broadcast. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though he couldn’t find a home on TV for \u003cem>BLKNWS\u003c/em>, Joseph chose three locations to stream it at Stanford: the Cantor Arts Center; the Lagunita dining hall in the complex that houses Ujamaa, a residence with black cultural focus; and Harmony House, home to the Institute for Diversity in the Arts (IDA).\u003c/p>\n\u003cp>I chose to watch \u003cem>BLKNWS\u003c/em> at Harmony House. (The full piece is estimated to be around nine hours long, though Joseph’s periodic edits defy a running time.) Across from the two wall-mounted monitors, I sank into a cozy couch in what was likely once a living room. Sipping water offered to me by A-lan Holt, the director of the IDA, I imagined this as Joseph’s original intended setting for the broadcast. Visiting someone’s home and catching a bit of news: The planet is in peril it seems. The brilliant Saidiya Hartman has thoughts to share about fugitive modernity. A young, shrill-toned Dave Chappelle does a bit. They do name all these hurricanes after women, don’t they? A child giggles at his father’s silly voices. Toni Morrison speaks a few words from the generous mountain she left us to climb up and see the vastness of black life.\u003c/p>\n\u003cp>Back home, my Twitter feed’s assemblage feels less profound and artful than ever. Instead, I seek out the fragments I saw on \u003cem>BLKNWS\u003c/em>. In one, Joseph interplays \u003ca href=\"https://www.youtube.com/watch?v=Ap0dUrCRKBg\" target=\"_blank\" rel=\"noopener noreferrer\">Christina Sharpe reading\u003c/a> from her book \u003cem>In Wake: On Blackness and Being\u003c/em> with brutal scenes from \u003cem>Amistad\u003c/em>.\u003c/p>\n\u003cp>“The amount of time it takes for a substance to enter the ocean and then leave the ocean is called ‘residence time,’” Sharpe says, later borrowing a phrase from Morrison’s \u003cem>Jazz\u003c/em>. “We black people exist in the residence time of the wake. A time in which ‘everything is now.’ It is all now.” Her last sentence, a proverb of \u003cem>BLKNWS\u003c/em>’s intangible magnitude, echoed in my head for hours.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>‘BLKNWS’ is on view at Stanford University through Nov. 25. \u003ca href=\"https://museum.stanford.edu/exhibitions/kahlil-joseph-blknws\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "country-music-awards-vote-on-whether-to-nominate-lil-nas-xs-old-town-road",
"title": "Country Music Awards Vote on Whether to Nominate Lil Nas X's 'Old Town Road'",
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"content": "\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>[aside postID='arts_13862433,arts_13854359,arts_13859988' label='Read More on Lil Nas X']\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>[aside tag='hip-hop' label='Music Coverage You Might Like']\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though Lil Nas X has broken chart records and become a streaming juggernaut with his breakout country rap hit “Old Town Road” with Billy Ray Cyrus, the song faces an uphill challenge to get a nomination for a CMA award.\u003c/p>\n\u003cp>Ballots have gone out for nominations for the Country Music Association Awards, but some voters are struggling to decide how to recognize the musical phenomenon of the year, which has become the longest-running No. 1 song in the history of Billboard’s Hot 100.\u003c/p>\n\u003cp>Billboard decided “Old Town Road” wasn’t a country song and pulled it off country charts early on, but the song made enough of an impact anyway that it became eligible for a number of CMA categories this year, including single of the year and song of the year. CMA voters, which include musicians, producers, songwriters, touring professionals, country radio employees and others, vote in three ballots with the final nominations typically being announced in late August or early September. The award show will air Nov. 13.\u003c/p>\n\u003cp>But there are already signs that the song isn’t getting wide support. It failed to get enough votes in the major song categories. The song only earned enough votes to be considered in the musical event category on the second ballot, which went out to voters Monday.\u003c/p>\n\u003cp>Shane McAnally, one of country’s biggest hit-makers who has written for Sam Hunt, Kacey Musgraves, Kenny Chesney and more, said he’s been impressed with the way the song has resonated with fans, but it never felt country to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I just think country people do not see that as a country song,” said McAnally, who is co-president of Monument Records and one of three producers on NBC’s song competition series, “Songland.” ″Pop listeners think it’s a country song.”\u003c/p>\n\u003cp>The song’s genreless approach by mixing trap beats with a Nine Inch Nails sample and Western-themed lyrics appealed to millennials on TikTok but took Nashville’s music industry by surprise. While pop, rap and rock artists have gotten CMA nominations before, it’s a lot harder to earn a nomination without broad support among Nashville’s labels and country radio.\u003c/p>\n\u003cp>Nelly was nominated for a musical event in 2013 with Florida Georgia Line for “Cruise,” but that was a country song with a rapper added to the remix. Nelly’s earlier collaboration with Tim McGraw on “Over and Over” in 2004, which was primarily promoted as a rap song, did not earn any nominations from the CMAs.\u003c/p>\n\u003cp>“I will be shocked if it makes the final ballot,” McAnally said of “Old Town Road.”\u003c/p>\n\u003cp>Still, McAnally pointed out that non-country acts can still surprise at the CMA Awards, such as when John Denver, largely considered a pop-folk artist, won entertainer of the year in 1975, prompting Charlie Rich to set fire to the card with Denver’s name during the broadcast.\u003c/p>\n\u003cp>David Macias, president of Nashville-based entertainment company Thirty Tigers, which works with Americana artists like Jason Isbell and John Prine, said Billboard’s decision to not classify the song as country probably just reinforced CMA voters who weren’t inclined to vote for it anyway.\u003c/p>\n\u003cp>“I haven’t really decided what I am going to do where that’s concerned,” Macias said. “There’s no doubt it’s the musical cultural phenomenon of the year. I am on the fence on whether or not it sits in there. It deserves some recognition, and frankly no matter what happens on the voting part, it will be interesting to see what the CMA does.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hunter Kelly, a veteran country music journalist, was surprised that the song didn’t get enough early votes for single of the year, but he said its qualifications for the musical event category seemed undeniable.\u003c/p>\n\u003cp>“If you talk about a musical event, it’s still 19 weeks at No. 1,” Kelly said. “It’s the all-time No. 1 on the Hot 100, so as a musical event, it totally deserves a nomination.”\u003c/p>\n\u003cp>During the voting period, labels or management agencies often engage in lobbying efforts that include advertisements in music industry publications. Representatives for Lil Nas X’s label, Columbia Records, did not respond to the AP for comment about the CMA voting.\u003c/p>\n\u003cp>Kelly said that since “Old Town Road” didn’t originate in Nashville and Lil Nas X is not signed to a Nashville label, there are fewer voters emotionally or financially invested in seeing it nominated.\u003c/p>\n\u003cp>At the very least, “Old Town Road” has proved that lightning can strike twice in the same place with the re-introduction of Billy Ray Cyrus to a new generation, McAnally said. The mullet-wearing Cyrus was last nominated for a CMA in 1992 when he won single of the year for his own ubiquitous, danceable hit “Achy Breaky Heart.”\u003c/p>\n\u003cp>“That’s pretty crazy,” McAnally mused. “He wasn’t going away. You can’t discount that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The creators behind Dora set out to empower Latinx kids and normalize bilingualism. But they were all white. So they brought in consultants like Carlos Cortes, a professor from the University of California, Riverside. Cortes helped with cultural sensitivity and answered big questions, like where Dora should be from.\u003c/p>\n\u003cp>“Someone came up with the idea we should make her very embedded in one culture — Mexican or Puerto Rican or Cuban or what have you,” says Cortes. But they couldn’t agree which culture. “I said look, I think it’s important that kids of different Latino backgrounds be able to identify with Dora.” So they decided to move forward with a pan-Latina character, not from anywhere in particular.\u003c/p>\n\u003cp>And so finally, Dora the Explorer, with her signature bob and pink shirt, aired on television screens for the first time on Aug. 14, 2000. Within less than a year, the show became the top commercial hit for preschoolers ages 2 to 5.\u003c/p>\n\u003cp>Almost 20 years after her creation, Dora is now being re-imagined as a teenager (played by Isabela Moner) in a live action film. In it, she sets off to find treasure in a fictional lost Inca city called Parapata.\u003c/p>\n\u003cp>“Parapata is a name in Quechua, which means ‘the rainy hill,’ ” says Americo Mendoza-Mori, a consultant on the film, who teaches Quechua at the University of Pennsylvania.\u003c/p>\n\u003cp>While Dora, the character, continues to be pan-Latina, the film grounds her in an actual geographical location: the Amazon rainforest. “We also want to use the movie as an opportunity to incorporate many aspects of this Andean knowledge,” says Mendoza-Mori.\u003c/p>\n\u003cp>Mexican actor Eugenio Derbez, who also served as an executive producer on the film, says, “I think Dora is an icon for kids, especially now that Latinos are being so, let’s say, harassed by this administration.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The original team members behind Dora say they never expected anti-immigrant rhetoric to become so central to the American political discourse. “We hope that we had an impact on little kids who saw a character who spoke a different language or had a different skin color than they did,” says Gifford. “So hopefully we made a little impact in that way.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dora+The+Explorer%27s+Lasting+Impact+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dora the Explorer is one of the most recognized Latinx characters on TV. She debuted on Nickelodeon almost 20 years ago. This past weekend, Dora moved to the big screen, in \u003cem>Dora and the Lost City of Gold\u003c/em>.\u003c/p>\n\u003cp>But before she was an explorer who traversed the world with her backpack and map, she was Stinky.\u003c/p>\n\u003cp>“It was a skunk,” says Chris Gifford, one of the show’s creators. In the late 1990s, he and two others were tasked with brainstorming the next hit on Nick Jr. After moving through various animals, they decided on a young girl who would go on adventures and ask the audience of preschoolers at home for help.\u003c/p>\n\u003cp>Originally, they imagined the girl would be white. But months into developing the show, the creative head at Nickelodeon, Brown Johnson, went to a conference where she learned that of the 80 prime-time characters under the age of 18, not a single one was Latinx. She came back and declared that the show they were working on would now feature a Latina.\u003c/p>\n\u003cfigure id=\"attachment_13864211\" class=\"wp-caption aligncenter\" style=\"max-width: 532px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13864211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg\" alt=\"Isabela Moner stars as Dora in Dora and the Lost City of Gold\" width=\"532\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279.jpg 532w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/dora-and-the-lost-city-of-gold-dora-01734r_rgb-a3bccb4fd05d1e7736f756ec7ec657339da3f279-160x120.jpg 160w\" sizes=\"(max-width: 532px) 100vw, 532px\">\u003cfigcaption class=\"wp-caption-text\">Isabela Moner stars as Dora in ‘Dora and the Lost City of Gold’ \u003ccite>(Vince Valitutti/Courtesy of Paramount Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Eric Weiner, another creator of the show, says, “At the time, Pat Buchanan was running for president, spewing all this hatred about, ‘We don’t want Spanish speakers in our country.’ So this idea of not building barriers gave extra meaning and heart and urgency to the mission of the show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do in the Bay Area? Listen to KQED Arts’ Gabe Meline and Nastia Voynovskaya discuss their critic’s picks for this weekend at the audio link above, and read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Godspeed You Black Emperor\u003c/strong>: Before a legion of mainstream copycats came along, this large collective pioneered the sprawling instrumental indie music you now hear in Hollywood movies and Nike commercials, recording cassettes on tiny labels and selling anarchist literature at their shows. Their shows are always at beautiful venues when they’re in the Bay Area, and this show is no exception: it’s at the 98-year-old Castro Theater in San Francisco on Sunday, Aug. 18. \u003ca href=\"http://folkyeah.com/godspeed-you-black-emperor-san-francisco-2019\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>The Jacka ‘Tear Gas’ Tribute Show\u003c/strong>: For the ten-year anniversary of The Jacka’s classic \u003cem>Tear Gas\u003c/em> album, a wild lineup of former collaborators pay tribute, including Andre Nickatina, Freeway, J. Stalin, Paul Wall and pretty much the rest of his old group Mob Figaz. The Jacka was killed in Oakland in 2015, and really, the memorials haven’t stopped since. This one’s special, on Thursday, Aug. 15, at the (\u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\" rel=\"noopener\" target=\"_blank\">soon-to-be-office-space\u003c/a>) Mezzanine in San Francisco. \u003ca href=\"https://mezzaninesf.com/events/tear-gas-the-jacka-tribute-show/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The 39 Steps’\u003c/strong>: For this masterful adaptation of the Alfred Hitchcock film, the cast is just four people, playing multiple parts in a frenzied, madcap fashion. It’s not at all like the suspense-filled movie, and that’s the point; it’s played in London for years to rave reviews. Here, it’s presented in the Bay Area by TheatreWorks Silicon Valley, who earlier this year won the \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\" rel=\"noopener\" target=\"_blank\">Tony Award for Best Regional Theater Company\u003c/a>. It opens Wednesday, Aug. 21, and runs through Sept. 22, at the Mountain View Center for the Performing Arts. \u003ca href=\"https://theatreworks.org/201920-season/the-39-steps/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Festival of Infinite Imagination\u003c/strong>: Pro Arts, the gallery in downtown Oakland, has become a really vital venue for experimental music lately, and it hosts this three-day festival presented by the Topsy Turvy Queer Circus, led by India Sky Davis. It features the work of six black queer and transgender artists, including the singer Spellling, who’s premiering a brand new performance-slash-installation piece called “The Spider Heart.” It runs runs Thursday, Friday and Saturday, Aug. 15–17, both inside Pro Arts gallery and outdoors in Frank Ogawa Plaza. \u003ca href=\"https://www.eventbrite.com/e/topsy-turvy-presents-festival-of-infinite-imagination-tickets-66016975551\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wayne Hancock\u003c/strong>: Country music is in the air: We have “Old Town Road” topping the charts for 19 weeks in a row, pop stars are wearing cowboy hats left & right. But if you want the real deal? You’ll want to check out Wayne Hancock, who’s more Hank Williams than Hank Williams Jr., and who’s been on a tour of juke joints and old saloons since the 1990s. He’s in Santa Rosa this week, playing a free show in the scenic backyard of the radio station KRSH on Thursday, Aug. 22. \u003ca href=\"https://www.krsh.com/event/wayne-the-train-hancock-at-the-krush-backyard/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"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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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
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