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"content": "\u003cp>Sacheen Littlefeather, the Native American actress and activist who declined Marlon Brando’s best actor Oscar in 1973, has died, the Academy of Motion Picture Arts and Sciences announced Sunday night. She was 75.\u003c/p>\n\u003cp>The academy \u003ca href=\"https://twitter.com/TheAcademy/status/1576750133802303490?cxt=HHwWhICwjZH53uErAAAA\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> Littlefeather’s death on its Twitter account. No cause of death was immediately given but multiple news outlets reported that Littlefeather had been suffering from breast cancer.\u003c/p>\n\u003cp>https://twitter.com/TheAcademy/status/1576750133802303490?cxt=HHwWhICwjZH53uErAAAA\u003c/p>\n\u003cp>Born Marie Louise Cruz on Nov. 14, 1946 in Salinas, Calif., Littlefeather later changed her name in her 20s as she explored her Native American heritage and became an activist.\u003c/p>\n\u003cp>[aside postid='arts_13917695']On March 27, 1973, she provided one of the most dramatic moments in Oscar history. As Brando’s name was read for winning best actor for his role in \u003cem>The Godfather\u003c/em>, Littlefeather took to the stage wearing moccasins and a buckskin dress to politely offer Brando’s regrets for refusing the award because of Hollywood’s treatment and portrayal of Native Americans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her speech to decline the Oscar on behalf of Brando was met by a mixture of boos and cheers. She said she saw the actor John Wayne being restrained from rushing the stage while she was on, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Los Angeles Times\u003c/em> reported\u003c/a>.\u003c/p>\n\u003cp>This past August, \u003ca href=\"https://www.npr.org/2022/08/16/1117762253/academy-apologizes-to-sacheen-littlefeather-for-mistreatment-over-1973-oscar-pro\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Mandalit Del Barco reported\u003c/a> on an interview that Littlefeather gave to member station KQED in 2020 about the speech and its fallout.\u003c/p>\n\u003cp>“People were making money off of that racism of the Hollywood Indian. Of course, they’re going to boo. They don’t want their evening interrupted.”\u003c/p>\n\u003cp>Littlefeather said she was escorted offstage at the Oscars by a team of security guards. She said that for years Hollywood boycotted her, calling it being red listed.\u003c/p>\n\u003cp>[aside postid='news_11818318']Earlier this year and nearly 50 years later, the academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance. In a June letter from former academy President David Rubin, the academy acknowledged the “unwarranted and unjustified” abuse she experienced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brando later acknowledged regret for the position he had put Littlefeather in, according to \u003cem>The Los Angeles\u003c/em> \u003cem>Times\u003c/em>. “I was distressed that people should have booed and whistled and stomped, even though perhaps it was directed at myself,” he told then-talk show host Dick Cavett. “They should have at least had the courtesy to listen to her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacheen+Littlefeather%2C+who+gave+Marlon+Brando%27s+Oscar+rejection+speech%2C+dies+at+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier this year and nearly 50 years later, the academy officially apologized to Littlefeather for the abuse she subsequently endured because of her Oscars appearance. In a June letter from former academy President David Rubin, the academy acknowledged the “unwarranted and unjustified” abuse she experienced.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Brando later acknowledged regret for the position he had put Littlefeather in, according to \u003cem>The Los Angeles\u003c/em> \u003cem>Times\u003c/em>. “I was distressed that people should have booed and whistled and stomped, even though perhaps it was directed at myself,” he told then-talk show host Dick Cavett. “They should have at least had the courtesy to listen to her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.latimes.com/entertainment-arts/movies/story/2022-10-02/sacheen-littlefeather-dies-oscars-the-godfather-marlon-brando-academy\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sacheen+Littlefeather%2C+who+gave+Marlon+Brando%27s+Oscar+rejection+speech%2C+dies+at+75&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pharoah Sanders, a Giant of Spirit-Driven Jazz, Dies at 81",
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"content": "\u003cp>Pharoah Sanders, the revered and influential tenor saxophonist who explored and extended the boundaries of his instrument, notably alongside John Coltrane in the 1960s, died on Saturday morning in Los Angeles. His death was announced in a post on social media by the record label Luaka Bop, which had released his celebrated 2021 album \u003cem>Promises\u003c/em> and confirmed by a publicist who worked on the release. Sanders was 81 years old. \u003c/p>\n\u003cp>Spirit was the overwhelming force in Sanders’ music: It emanated from his tenor and soprano saxophones in fiery blasts or a murmuring flicker, and it suffused his ensembles, which featured several generations of improvisers equally willing to dig in or soar free. “Sanders has consistently had bands that could not only create a lyrical near-mystical Afro-Eastern world,” wrote one champion, the poet-critic Amiri Baraka, “but [also] sweat hot fire music in continuing display of the so-called ‘energy music’ of the ’60s.”\u003c/p>\n\u003cp>That combination of traits characterized Sanders’ defining solo work of the ’70s on Impulse! Records, which had been Coltrane’s label home, and was still a welcoming harbor for experimentalism. Among these albums are \u003cem>Black Unity\u003c/em>, consisting of one album-length improvisation, and \u003cem>Thembi\u003c/em>, which nudges a post-Coltrane language into the realm of Afrocentric groove. \u003c/p>\n\u003cp>Sanders’ single best-known piece of music is “The Creator Has a Master Plan,” an expansive performance from 1969 that peaks in wailing cacophony but ends with a buoyant, soulful vocal refrain. Originally split across two sides of the 1969 LP \u003cem>Karma\u003c/em>, the track was later issued on CD as a single track, nearly 33 minutes long.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ViweO33oo2Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pharoah was born Ferrell Sanders on Oct. 13, 1940, in Little Rock, Ark. His love of music began at home, through his choir-leading grandfather. After high school — and a switch from the clarinet to the alto saxophone, before finally settling into the tenor sax — Sanders moved to the West Coast around 1959, attending Oakland Junior College, expanding his musical palette and pursuing the horizon, sitting in with avant-garde saxophonists like Sonny Simmons and Dewey Redman. While there, Sanders first met and befriended John Coltrane, though they wouldn’t work together until many years later.\u003c/p>\n\u003cp>In 1961, Sanders relocated to New York, looking to join the city’s fecund jazz scene, where Coltrane was a reigning figure. Sanders’ landing in New York was rocky, however, resulting in intermittent homelessness as he practiced, sporadically, with Sun Ra and his Arkestra. (Sun Ra, it’s said, was the one who encouraged him to take the name Pharoah.) Eventually, he was forced to pawn his horn.\u003c/p>\n\u003cp>Sanders’ fortunes in New York slowly but surely turned around as he established a solo career, and by 1965 he was a member of what would be Coltrane’s final quartet. \u003cem>Ascension\u003c/em>, recorded in 1965 and released the following year, was a late-in-life turning point for Coltrane and, by extension, Sanders, who would become known for using his instrument in novel — anarchic and atonal — ways. Last year, Impulse! released the archival recording \u003ca href=\"https://www.npr.org/2021/08/26/1031013271/john-coltranes-masterpiece-breathes-new-life-with-a-love-supreme-live-in-seattle\">\u003cem>A Love Supreme: Live in Seattle\u003c/em>\u003c/a>\u003cem>, \u003c/em>recorded a few months after \u003cem>Ascension; \u003c/em>it features Sanders as a vital addition to Coltrane’s quartet, expanding on his most heralded musical statement. (\u003cem>Live in Seattle,\u003c/em> a separate album recorded during the same engagement, had long been a touchstone for an avant-garde left to forge the path ahead after Coltrane’s death in ’67.)\u003c/p>\n\u003cp>Even given his pioneering work, Sanders downplayed his technical achievements in favor of the emotional resonance he was seeking. “I’m not so much of a technical player myself,” Sanders explained in \u003ca href=\"https://www.youtube.com/watch?v=uAzuLV00DOk\">a 1995 interview\u003c/a>. “I’m probably not that much of an intellectual player, as some other musicians. What I do is… express. That’s what I do.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Pharaoh Sanders perform inside a tunnel at the Marin Headlands:\u003c/em>\u003c/strong>\u003cbr>\nhttps://www.youtube.com/watch?v=Y7EGQzn8e1k\u003c/p>\n\u003cp>Sanders’ stature grew beyond the jazz avant-garde space as he became something of a spiritual elder, and his expressiveness survived in new contexts. In 2021, he released the album \u003cem>Promises\u003c/em> in collaboration with the electronic musician Sam Shepherd, who records as Floating Points, and the London Symphony Orchestra that was widely and immediately hailed as one of the year’s best. A patient and meditative album, it sometimes feels like a structure built for the sole purpose of allowing Sanders’ voice and saxophone to levitate.\u003c/p>\n\u003cp>For many years, the jazz establishment lagged behind the African American community in appreciating Sanders’ work, especially apart from his affiliation with Coltrane. But the power of his example and the sweep of his music helped set the framework for an ascendant class of artists like tenor saxophonists Kamasi Washington, James Brandon Lewis and Nubya Garcia, and multi-reedist Shabaka Hutchings. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I find it difficult to regard Pharoah Sanders as an individual,” wrote Hutchings in an \u003ca href=\"https://thevinylfactory.com/features/the-spiritual-power-of-pharoah-sanders/\">appreciation of \u003cem>Black Unity\u003c/em>\u003c/a> for The Vinyl Factory. “I intuitively consider him as representational of a creative principle that centers communalism as the driving force from which spirit is manifested through sound.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pharoah+Sanders%2C+giant+of+spirit-driven+jazz%2C+dies+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pharoah Sanders, the revered and influential tenor saxophonist who explored and extended the boundaries of his instrument, notably alongside John Coltrane in the 1960s, died on Saturday morning in Los Angeles. His death was announced in a post on social media by the record label Luaka Bop, which had released his celebrated 2021 album \u003cem>Promises\u003c/em> and confirmed by a publicist who worked on the release. Sanders was 81 years old. \u003c/p>\n\u003cp>Spirit was the overwhelming force in Sanders’ music: It emanated from his tenor and soprano saxophones in fiery blasts or a murmuring flicker, and it suffused his ensembles, which featured several generations of improvisers equally willing to dig in or soar free. “Sanders has consistently had bands that could not only create a lyrical near-mystical Afro-Eastern world,” wrote one champion, the poet-critic Amiri Baraka, “but [also] sweat hot fire music in continuing display of the so-called ‘energy music’ of the ’60s.”\u003c/p>\n\u003cp>That combination of traits characterized Sanders’ defining solo work of the ’70s on Impulse! Records, which had been Coltrane’s label home, and was still a welcoming harbor for experimentalism. Among these albums are \u003cem>Black Unity\u003c/em>, consisting of one album-length improvisation, and \u003cem>Thembi\u003c/em>, which nudges a post-Coltrane language into the realm of Afrocentric groove. \u003c/p>\n\u003cp>Sanders’ single best-known piece of music is “The Creator Has a Master Plan,” an expansive performance from 1969 that peaks in wailing cacophony but ends with a buoyant, soulful vocal refrain. Originally split across two sides of the 1969 LP \u003cem>Karma\u003c/em>, the track was later issued on CD as a single track, nearly 33 minutes long.\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/ViweO33oo2Y'\n title='//www.youtube.com/embed/ViweO33oo2Y'\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>Pharoah was born Ferrell Sanders on Oct. 13, 1940, in Little Rock, Ark. His love of music began at home, through his choir-leading grandfather. After high school — and a switch from the clarinet to the alto saxophone, before finally settling into the tenor sax — Sanders moved to the West Coast around 1959, attending Oakland Junior College, expanding his musical palette and pursuing the horizon, sitting in with avant-garde saxophonists like Sonny Simmons and Dewey Redman. While there, Sanders first met and befriended John Coltrane, though they wouldn’t work together until many years later.\u003c/p>\n\u003cp>In 1961, Sanders relocated to New York, looking to join the city’s fecund jazz scene, where Coltrane was a reigning figure. Sanders’ landing in New York was rocky, however, resulting in intermittent homelessness as he practiced, sporadically, with Sun Ra and his Arkestra. (Sun Ra, it’s said, was the one who encouraged him to take the name Pharoah.) Eventually, he was forced to pawn his horn.\u003c/p>\n\u003cp>Sanders’ fortunes in New York slowly but surely turned around as he established a solo career, and by 1965 he was a member of what would be Coltrane’s final quartet. \u003cem>Ascension\u003c/em>, recorded in 1965 and released the following year, was a late-in-life turning point for Coltrane and, by extension, Sanders, who would become known for using his instrument in novel — anarchic and atonal — ways. Last year, Impulse! released the archival recording \u003ca href=\"https://www.npr.org/2021/08/26/1031013271/john-coltranes-masterpiece-breathes-new-life-with-a-love-supreme-live-in-seattle\">\u003cem>A Love Supreme: Live in Seattle\u003c/em>\u003c/a>\u003cem>, \u003c/em>recorded a few months after \u003cem>Ascension; \u003c/em>it features Sanders as a vital addition to Coltrane’s quartet, expanding on his most heralded musical statement. (\u003cem>Live in Seattle,\u003c/em> a separate album recorded during the same engagement, had long been a touchstone for an avant-garde left to forge the path ahead after Coltrane’s death in ’67.)\u003c/p>\n\u003cp>Even given his pioneering work, Sanders downplayed his technical achievements in favor of the emotional resonance he was seeking. “I’m not so much of a technical player myself,” Sanders explained in \u003ca href=\"https://www.youtube.com/watch?v=uAzuLV00DOk\">a 1995 interview\u003c/a>. “I’m probably not that much of an intellectual player, as some other musicians. What I do is… express. That’s what I do.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch Pharaoh Sanders perform inside a tunnel at the Marin Headlands:\u003c/em>\u003c/strong>\u003cbr>\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/Y7EGQzn8e1k'\n title='//www.youtube.com/embed/Y7EGQzn8e1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sanders’ stature grew beyond the jazz avant-garde space as he became something of a spiritual elder, and his expressiveness survived in new contexts. In 2021, he released the album \u003cem>Promises\u003c/em> in collaboration with the electronic musician Sam Shepherd, who records as Floating Points, and the London Symphony Orchestra that was widely and immediately hailed as one of the year’s best. A patient and meditative album, it sometimes feels like a structure built for the sole purpose of allowing Sanders’ voice and saxophone to levitate.\u003c/p>\n\u003cp>For many years, the jazz establishment lagged behind the African American community in appreciating Sanders’ work, especially apart from his affiliation with Coltrane. But the power of his example and the sweep of his music helped set the framework for an ascendant class of artists like tenor saxophonists Kamasi Washington, James Brandon Lewis and Nubya Garcia, and multi-reedist Shabaka Hutchings. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I find it difficult to regard Pharoah Sanders as an individual,” wrote Hutchings in an \u003ca href=\"https://thevinylfactory.com/features/the-spiritual-power-of-pharoah-sanders/\">appreciation of \u003cem>Black Unity\u003c/em>\u003c/a> for The Vinyl Factory. “I intuitively consider him as representational of a creative principle that centers communalism as the driving force from which spirit is manifested through sound.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pharoah+Sanders%2C+giant+of+spirit-driven+jazz%2C+dies+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jean-Luc Godard, Iconic French New Wave Director, Dies at 91",
"headTitle": "Jean-Luc Godard, Iconic French New Wave Director, Dies at 91 | KQED",
"content": "\u003cp>Jean-Luc Godard, the iconic “enfant terrible” of the French New Wave who revolutionized popular cinema in 1960 with his first feature, \u003cem>Breathless\u003c/em>, and stood for years among the film world’s most influential directors, died Tuesday. He was 91.\u003c/p>\n\u003cp>Godard died peacefully and surrounded by loved ones at his home in the Swiss town of Rolle, on Lake Geneva, his family said in a statement. The statement gave assisted suicide as the cause of death.\u003c/p>\n\u003cp>A medical report recently revealed the director had “multiple invalidating pathologies,” according to the family statement, which did not specify the conditions.\u003c/p>\n\u003cp>Over a long career that began in the 1950s as a film critic, Godard was perhaps the most boundary-breaking director among New Wave filmmakers who rewrote the rules for camera, sound and narrative — rebelling against an earlier tradition of more formulaic storytelling.\u003c/p>\n\u003cp>For the low-budget \u003cem>Breathless\u003c/em>, Godard relied on a mobile, lightweight camera to capture street scenes and reach moviegoers in a new way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He dispensed with contrived backdrops and the “artifice” of Hollywood cinema of the time, said one film expert. The impact was immediate – \u003cem>Breathless\u003c/em> arrived like a cinematic thunderclap when it was released in 1960 – and lasting.\u003c/p>\n\u003cfigure id=\"attachment_13919058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg\" alt=\"A white man in suit, tie and sunglasses stands with a woman in a dress.\" width=\"800\" height=\"802\" class=\"size-medium wp-image-13919058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Seberg and Jean-Luc Godard during the party for the release of the movie Breathless (A bout de Souffle) in Paris, France, on March 16, 1960. \u003ccite>(Keystone-France/Gamma-Keystone via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>French President Emmanuel Macron paid tribute, saying: “We have lost a national treasure, the eye of a genius.”\u003c/p>\n\u003cp>Godard worked with some of the best-known actors in French cinema, such as Jean-Paul Belmondo, who was propelled to stardom through the director’s films, and Brigitte Bardot, who starred in his acclaimed 1963 work \u003cem>Contempt\u003c/em>.\u003c/p>\n\u003cp>Beyond that, he profiled the early Rolling Stones, gave a voice to Marxist, leftist and 1960s-era Black Power politics, and his controversial modern nativity play \u003cem>Hail Mary\u003c/em> grabbed headlines when Pope John Paul II denounced it in 1985.\u003c/p>\n\u003cp>While many of his works were lauded, Godard also made a string of films that were politically charged and experimental, and pleased few outside a small circle of fans, while frustrating many critics who saw them as filled with overblown intellectualism.\u003c/p>\n\u003cp>Cannes Film Festival Director Thierry Fremaux said by phone he was “sad, sad — immensely so” at the news of Godard’s death.\u003c/p>\n\u003cp>Born into a wealthy French-Swiss family on Dec. 3, 1930 in Paris, Godard grew up in Nyon, Switzerland, and studied ethnology at the Sorbonne, where he was increasingly drawn to the cultural scene that flourished in the Latin Quarter “cine-club” after World War II.\u003c/p>\n\u003cp>He became friends with future big-name directors Francois Truffaut, Jacques Rivette and Eric Rohmer, and in 1950 founded the short-lived Gazette du Cinema. By 1952 he had begun writing for the prestigious movie magazine \u003cem>Cahiers du Cinema\u003c/em>.\u003c/p>\n\u003cp>After working on two films by Rivette and Rohmer in 1951, Godard tried to direct his first movie while traveling through North and South America with his father, but never finished it.\u003c/p>\n\u003cp>Back in Europe, he took a job in Switzerland as a construction worker on a dam project. He used the pay to finance his first complete film, the 1954 \u003cem>Operation Concrete\u003c/em>, a 20-minute documentary about the building of the dam.\u003c/p>\n\u003cp>Returning to Paris, Godard worked as spokesman for an artists’ agency and made his first feature in 1957 — \u003cem>All Boys Are Called Patrick\u003c/em>, released in 1959 — and continued to hone his writing.\u003c/p>\n\u003cfigure id=\"attachment_13919057\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-948120760.jpg\" alt=\"A man in glasses and a suit jacket reclines before the sea.\" width=\"594\" height=\"381\" class=\"size-full wp-image-13919057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760-160x103.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Luc Godard at the Cannes Film Festival in 1987. \u003ccite>(Pool ARNAL/URLI/GARCIA/Gamma-Rapho via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also began work on \u003cem>Breathless\u003c/em>, based on a story by Truffaut.\u003c/p>\n\u003cp>The movie stars Belmondo as a penniless young thief who models himself on Hollywood movie gangsters and who, after he shoots a police officer, goes on the run with his American girlfriend, played by Jean Seberg.\u003c/p>\n\u003cp>Godard’s cinematic creations were suffused with the gritty, sassy tones of a resurgent postwar France — known domestically as the “Glorious 30” years through to the late 1970s — and they served up some of the most poignant images and lines from what was then a rich, avant-garde heyday of French filmmaking.\u003c/p>\n\u003cp>The images in \u003cem>Breathless\u003c/em> of an ingenue Seberg traipsing along Paris’ Champs-Elysées and shouting to hawk \u003cem>New York Herald Tribune\u003c/em> newspapers in a tight T-shirt, and close-ups of a cigarette-smoking, fedora-wearing Belmondo running a thumb methodically, pensively across his lips could be enshrined among the most memorable images of French cinema.\u003c/p>\n\u003cp>Along with Truffaut’s \u003cem>The 400 Blows\u003c/em>, released in 1959, Godard’s film set a new tone for French movie aesthetics. Godard rejected conventional narrative style and instead used frequent jump-cuts that mingled philosophical discussions with action scenes. He spiced it all up with references to Hollywood gangster movies and nods to literature and visual art.\u003c/p>\n\u003cp>Godard also launched what was to be a career-long participation in collective film projects, contributing scenes to \u003cem>The Seven Deadly Sins\u003c/em> along with directors such as Claude Chabrol and Roger Vadim. He also worked with Ugo Gregoretti, Pier Paolo Pasolini and Roberto Rossellini on the Italian movie \u003cem>Let’s Have a Brainwash\u003c/em>, with Godard’s scenes portraying a disturbing post-Apocalypse world.\u003c/p>\n\u003cp>Godard, who was later to gain a reputation for his uncompromising left-wing political views, had a first brush with French authorities in 1960 when he made \u003cem>The Little Soldier\u003c/em>. The movie, filled with references to France’s colonial war in Algeria, was not released until 1963, a year after the conflict ended.\u003c/p>\n\u003cp>His work turned more starkly political by the late 1960s. In \u003cem>Weekend\u003c/em>, his characters lampoon hypocrisy in bourgeois society even as they demonstrate the comic futility of violent class war. It came out a year before popular anger at the establishment shook France, culminating in the iconic but short-lived student unrest of May 1968.\u003c/p>\n\u003cp>Godard harbored a life-long sympathy for various forms of socialism depicted in films from the early 1970s to the 1990s.\u003c/p>\n\u003cp>Some of global cinema’s greatest directors counted Godard’s boundary-breaking work as an influence, including Quentin Tarantino, Bernardo Bertolucci, Brian De Palma and Jonathan Demme.\u003c/p>\n\u003cp>Tweeted \u003cem>Black Swan\u003c/em> director Darren Aronofsky: “rip godard. learned a lot from my vhs copy of breathless… thank you maestro.”\u003c/p>\n\u003cp>Godard took potshots at Hollywood over the years.\u003c/p>\n\u003cp>He remained home in Switzerland rather than travel to Hollywood to receive an honorary Oscar at a private ceremony in November 2010 alongside film historian and preservationist Kevin Brownlow, director-producer Francis Ford Coppola and actor Eli Wallach.\u003c/p>\n\u003cp>His lifelong advocacy of the Palestinian cause also brought him repeated accusations of antisemitism, despite his insistence that he sympathized with the Jewish people and their plight in Nazi-occupied Europe.\u003c/p>\n\u003cp>Though the academy received some complaints about Godard being selected to receive the award, academy President Tom Sherak said the director was recognized solely “for his contributions to film in the New Wave era.”\u003c/p>\n\u003cp>Godard married Danish-born model and actress Anna Karina in 1961. She appeared in a string of movies he made during the remainder of the 1960s, all of them seen as New Wave landmarks. Notable among them were \u003cem>My Life to Live\u003c/em>, \u003cem>Alphaville\u003c/em> and \u003cem>Crazy Pete\u003c/em> — which also starred Belmondo and was rumored to have been shot without a script. Godard and Karina divorced in 1965.\u003c/p>\n\u003cp>Godard married his second wife, Anne Wiazemsky, in 1967. He later started a relationship with Swiss filmmaker Anne-Marie Mieville. Godard divorced Wiazemsky in 1979, after he had moved with Mieville to Rolle, where he lived with her for the rest of his life.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adamson reported from Paris. Former AP correspondent John Heilprin contributed biographical material to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jean-Luc Godard, the iconic “enfant terrible” of the French New Wave who revolutionized popular cinema in 1960 with his first feature, \u003cem>Breathless\u003c/em>, and stood for years among the film world’s most influential directors, died Tuesday. He was 91.\u003c/p>\n\u003cp>Godard died peacefully and surrounded by loved ones at his home in the Swiss town of Rolle, on Lake Geneva, his family said in a statement. The statement gave assisted suicide as the cause of death.\u003c/p>\n\u003cp>A medical report recently revealed the director had “multiple invalidating pathologies,” according to the family statement, which did not specify the conditions.\u003c/p>\n\u003cp>Over a long career that began in the 1950s as a film critic, Godard was perhaps the most boundary-breaking director among New Wave filmmakers who rewrote the rules for camera, sound and narrative — rebelling against an earlier tradition of more formulaic storytelling.\u003c/p>\n\u003cp>For the low-budget \u003cem>Breathless\u003c/em>, Godard relied on a mobile, lightweight camera to capture street scenes and reach moviegoers in a new way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He dispensed with contrived backdrops and the “artifice” of Hollywood cinema of the time, said one film expert. The impact was immediate – \u003cem>Breathless\u003c/em> arrived like a cinematic thunderclap when it was released in 1960 – and lasting.\u003c/p>\n\u003cfigure id=\"attachment_13919058\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg\" alt=\"A white man in suit, tie and sunglasses stands with a woman in a dress.\" width=\"800\" height=\"802\" class=\"size-medium wp-image-13919058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-800x802.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289-768x770.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-106155289.jpg 1021w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Seberg and Jean-Luc Godard during the party for the release of the movie Breathless (A bout de Souffle) in Paris, France, on March 16, 1960. \u003ccite>(Keystone-France/Gamma-Keystone via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>French President Emmanuel Macron paid tribute, saying: “We have lost a national treasure, the eye of a genius.”\u003c/p>\n\u003cp>Godard worked with some of the best-known actors in French cinema, such as Jean-Paul Belmondo, who was propelled to stardom through the director’s films, and Brigitte Bardot, who starred in his acclaimed 1963 work \u003cem>Contempt\u003c/em>.\u003c/p>\n\u003cp>Beyond that, he profiled the early Rolling Stones, gave a voice to Marxist, leftist and 1960s-era Black Power politics, and his controversial modern nativity play \u003cem>Hail Mary\u003c/em> grabbed headlines when Pope John Paul II denounced it in 1985.\u003c/p>\n\u003cp>While many of his works were lauded, Godard also made a string of films that were politically charged and experimental, and pleased few outside a small circle of fans, while frustrating many critics who saw them as filled with overblown intellectualism.\u003c/p>\n\u003cp>Cannes Film Festival Director Thierry Fremaux said by phone he was “sad, sad — immensely so” at the news of Godard’s death.\u003c/p>\n\u003cp>Born into a wealthy French-Swiss family on Dec. 3, 1930 in Paris, Godard grew up in Nyon, Switzerland, and studied ethnology at the Sorbonne, where he was increasingly drawn to the cultural scene that flourished in the Latin Quarter “cine-club” after World War II.\u003c/p>\n\u003cp>He became friends with future big-name directors Francois Truffaut, Jacques Rivette and Eric Rohmer, and in 1950 founded the short-lived Gazette du Cinema. By 1952 he had begun writing for the prestigious movie magazine \u003cem>Cahiers du Cinema\u003c/em>.\u003c/p>\n\u003cp>After working on two films by Rivette and Rohmer in 1951, Godard tried to direct his first movie while traveling through North and South America with his father, but never finished it.\u003c/p>\n\u003cp>Back in Europe, he took a job in Switzerland as a construction worker on a dam project. He used the pay to finance his first complete film, the 1954 \u003cem>Operation Concrete\u003c/em>, a 20-minute documentary about the building of the dam.\u003c/p>\n\u003cp>Returning to Paris, Godard worked as spokesman for an artists’ agency and made his first feature in 1957 — \u003cem>All Boys Are Called Patrick\u003c/em>, released in 1959 — and continued to hone his writing.\u003c/p>\n\u003cfigure id=\"attachment_13919057\" class=\"wp-caption aligncenter\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/GettyImages-948120760.jpg\" alt=\"A man in glasses and a suit jacket reclines before the sea.\" width=\"594\" height=\"381\" class=\"size-full wp-image-13919057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/GettyImages-948120760-160x103.jpg 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Jean-Luc Godard at the Cannes Film Festival in 1987. \u003ccite>(Pool ARNAL/URLI/GARCIA/Gamma-Rapho via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He also began work on \u003cem>Breathless\u003c/em>, based on a story by Truffaut.\u003c/p>\n\u003cp>The movie stars Belmondo as a penniless young thief who models himself on Hollywood movie gangsters and who, after he shoots a police officer, goes on the run with his American girlfriend, played by Jean Seberg.\u003c/p>\n\u003cp>Godard’s cinematic creations were suffused with the gritty, sassy tones of a resurgent postwar France — known domestically as the “Glorious 30” years through to the late 1970s — and they served up some of the most poignant images and lines from what was then a rich, avant-garde heyday of French filmmaking.\u003c/p>\n\u003cp>The images in \u003cem>Breathless\u003c/em> of an ingenue Seberg traipsing along Paris’ Champs-Elysées and shouting to hawk \u003cem>New York Herald Tribune\u003c/em> newspapers in a tight T-shirt, and close-ups of a cigarette-smoking, fedora-wearing Belmondo running a thumb methodically, pensively across his lips could be enshrined among the most memorable images of French cinema.\u003c/p>\n\u003cp>Along with Truffaut’s \u003cem>The 400 Blows\u003c/em>, released in 1959, Godard’s film set a new tone for French movie aesthetics. Godard rejected conventional narrative style and instead used frequent jump-cuts that mingled philosophical discussions with action scenes. He spiced it all up with references to Hollywood gangster movies and nods to literature and visual art.\u003c/p>\n\u003cp>Godard also launched what was to be a career-long participation in collective film projects, contributing scenes to \u003cem>The Seven Deadly Sins\u003c/em> along with directors such as Claude Chabrol and Roger Vadim. He also worked with Ugo Gregoretti, Pier Paolo Pasolini and Roberto Rossellini on the Italian movie \u003cem>Let’s Have a Brainwash\u003c/em>, with Godard’s scenes portraying a disturbing post-Apocalypse world.\u003c/p>\n\u003cp>Godard, who was later to gain a reputation for his uncompromising left-wing political views, had a first brush with French authorities in 1960 when he made \u003cem>The Little Soldier\u003c/em>. The movie, filled with references to France’s colonial war in Algeria, was not released until 1963, a year after the conflict ended.\u003c/p>\n\u003cp>His work turned more starkly political by the late 1960s. In \u003cem>Weekend\u003c/em>, his characters lampoon hypocrisy in bourgeois society even as they demonstrate the comic futility of violent class war. It came out a year before popular anger at the establishment shook France, culminating in the iconic but short-lived student unrest of May 1968.\u003c/p>\n\u003cp>Godard harbored a life-long sympathy for various forms of socialism depicted in films from the early 1970s to the 1990s.\u003c/p>\n\u003cp>Some of global cinema’s greatest directors counted Godard’s boundary-breaking work as an influence, including Quentin Tarantino, Bernardo Bertolucci, Brian De Palma and Jonathan Demme.\u003c/p>\n\u003cp>Tweeted \u003cem>Black Swan\u003c/em> director Darren Aronofsky: “rip godard. learned a lot from my vhs copy of breathless… thank you maestro.”\u003c/p>\n\u003cp>Godard took potshots at Hollywood over the years.\u003c/p>\n\u003cp>He remained home in Switzerland rather than travel to Hollywood to receive an honorary Oscar at a private ceremony in November 2010 alongside film historian and preservationist Kevin Brownlow, director-producer Francis Ford Coppola and actor Eli Wallach.\u003c/p>\n\u003cp>His lifelong advocacy of the Palestinian cause also brought him repeated accusations of antisemitism, despite his insistence that he sympathized with the Jewish people and their plight in Nazi-occupied Europe.\u003c/p>\n\u003cp>Though the academy received some complaints about Godard being selected to receive the award, academy President Tom Sherak said the director was recognized solely “for his contributions to film in the New Wave era.”\u003c/p>\n\u003cp>Godard married Danish-born model and actress Anna Karina in 1961. She appeared in a string of movies he made during the remainder of the 1960s, all of them seen as New Wave landmarks. Notable among them were \u003cem>My Life to Live\u003c/em>, \u003cem>Alphaville\u003c/em> and \u003cem>Crazy Pete\u003c/em> — which also starred Belmondo and was rumored to have been shot without a script. Godard and Karina divorced in 1965.\u003c/p>\n\u003cp>Godard married his second wife, Anne Wiazemsky, in 1967. He later started a relationship with Swiss filmmaker Anne-Marie Mieville. Godard divorced Wiazemsky in 1979, after he had moved with Mieville to Rolle, where he lived with her for the rest of his life.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "1980s Pop Goddess Olivia Newton-John Has Died at Age 73",
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"content": "\u003cp>Olivia Newton-John, one of the biggest pop stars in the 1970s and early 1980s, has died at the age of 73. She died on Monday at her ranch in southern California, according to her husband, John Easterling, in a post on \u003ca href=\"https://www.facebook.com/olivianewtonjohn\" target=\"_blank\" rel=\"noopener noreferrer\">her official Facebook page\u003c/a>. “Olivia has been a symbol of triumphs and hope for over 30 years sharing her journey with breast cancer,” it reads in part.\u003c/p>\n\u003cp>In the 1978 movie musical \u003cem>Grease\u003c/em>, Newton-John starred as the good girl Sandy Olson, who falls for a bad boy played by John Travolta, who had also played the role on Broadway. He lobbied hard for Newton-John to make her film debut as his costar.\u003c/p>\n\u003cp>“I wanted this girl bad,” Travolta told Merv Griffin on TV in 1981. “The perfect Sandy, the ultimate Sandy, would be Olivia Newton-John.”\u003c/p>\n\u003cp>But the 28-year old Australian singer was skeptical about playing a high school student.\u003c/p>\n\u003cp>“I couldn’t do an American accent, and I was too old,” she told the \u003cem>Today\u003c/em> show in 2019. “And I had all these reasons why I couldn’t do it. We did a screen test. The chemistry was there. It worked and when John came to see me at my house—how could you say no to John Travolta?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one, it seemed, could say no to \u003cem>Grease\u003c/em>. The soundtrack was wildly successful. A duet with Travolta ended up as a best-selling single.\u003c/p>\n\u003cp>Newton-John was born in England in 1948. She grew up in Australia, and started her performing career as a teenager. A regular on local radio and TV shows, she won a talent contest and ended up recording country-pop songs in the U.S.\u003c/p>\n\u003cp>For “Let me Be There,” she won her first Grammy award in 1973. The following year, she earned two Grammys for “I Honestly Love You.” Mellow pop songs became Newton-John’s stock in trade, but she won her fourth Grammy in 1982 for the suggestive single “Let’s Get Physical.”\u003c/p>\n\u003cp>The song made her uncomfortable, Newton-John told NPR in 2012. “I thought it was a great song, but then had a panic attack and called my manager and said, ‘You can’t put this out, it’s too over the top and it’s too risque,’ ” she said, only to learn it had already gone to the radio.\u003c/p>\n\u003cp>It was Newton-John’s idea to make the video for the song about exercise, she said, and she wore a sweatband, leotards and legwarmers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After her other hits–such as “Magic”—and other movies, such as \u003cem>Xanadu\u003c/em>, Newton-John dropped out of the spotlight to raise her daughter, and promote causes such as environmentalism and breast cancer awareness, after she was diagnosed with the disease. She treated it, she said, with alternative therapies, medical marijuana, humor and optimism.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>visit NPR\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Olivia Newton-John, one of the biggest pop stars in the 1970s and early 1980s, has died at the age of 73. She died on Monday at her ranch in southern California, according to her husband, John Easterling, in a post on \u003ca href=\"https://www.facebook.com/olivianewtonjohn\" target=\"_blank\" rel=\"noopener noreferrer\">her official Facebook page\u003c/a>. “Olivia has been a symbol of triumphs and hope for over 30 years sharing her journey with breast cancer,” it reads in part.\u003c/p>\n\u003cp>In the 1978 movie musical \u003cem>Grease\u003c/em>, Newton-John starred as the good girl Sandy Olson, who falls for a bad boy played by John Travolta, who had also played the role on Broadway. He lobbied hard for Newton-John to make her film debut as his costar.\u003c/p>\n\u003cp>“I wanted this girl bad,” Travolta told Merv Griffin on TV in 1981. “The perfect Sandy, the ultimate Sandy, would be Olivia Newton-John.”\u003c/p>\n\u003cp>But the 28-year old Australian singer was skeptical about playing a high school student.\u003c/p>\n\u003cp>“I couldn’t do an American accent, and I was too old,” she told the \u003cem>Today\u003c/em> show in 2019. “And I had all these reasons why I couldn’t do it. We did a screen test. The chemistry was there. It worked and when John came to see me at my house—how could you say no to John Travolta?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No one, it seemed, could say no to \u003cem>Grease\u003c/em>. The soundtrack was wildly successful. A duet with Travolta ended up as a best-selling single.\u003c/p>\n\u003cp>Newton-John was born in England in 1948. She grew up in Australia, and started her performing career as a teenager. A regular on local radio and TV shows, she won a talent contest and ended up recording country-pop songs in the U.S.\u003c/p>\n\u003cp>For “Let me Be There,” she won her first Grammy award in 1973. The following year, she earned two Grammys for “I Honestly Love You.” Mellow pop songs became Newton-John’s stock in trade, but she won her fourth Grammy in 1982 for the suggestive single “Let’s Get Physical.”\u003c/p>\n\u003cp>The song made her uncomfortable, Newton-John told NPR in 2012. “I thought it was a great song, but then had a panic attack and called my manager and said, ‘You can’t put this out, it’s too over the top and it’s too risque,’ ” she said, only to learn it had already gone to the radio.\u003c/p>\n\u003cp>It was Newton-John’s idea to make the video for the song about exercise, she said, and she wore a sweatband, leotards and legwarmers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After her other hits–such as “Magic”—and other movies, such as \u003cem>Xanadu\u003c/em>, Newton-John dropped out of the spotlight to raise her daughter, and promote causes such as environmentalism and breast cancer awareness, after she was diagnosed with the disease. She treated it, she said, with alternative therapies, medical marijuana, humor and optimism.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>visit NPR\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nichelle Nichols, Lt. Uhura on 'Star Trek,' Dies at 89",
"headTitle": "Nichelle Nichols, Lt. Uhura on ‘Star Trek,’ Dies at 89 | KQED",
"content": "\u003cp>Actress and singer Nichelle Nichols, best known as \u003cem>Star Trek\u003c/em>‘s communications officer Lieutenant Uhura, died Saturday night in Silver City, New Mexico. She was 89 years old.\u003c/p>\n\u003cp>“I regret to inform you that a great light in the firmament no longer shines for us as it has for so many years,” \u003ca href=\"https://uhura.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her son Kyle Johnson wrote on the website Uhura.com\u003c/a>. “Her light, however, like the ancient galaxies now being seen for the first time, will remain for us and future generations to enjoy, learn from, and draw inspiration.”\u003c/p>\n\u003cp>Nichols was one of the first Black women featured in a major television series, and her role as Lt. Nyota Uhura on the original TV series was groundbreaking: an African American woman whose name came from Uhuru, the Swahili word for “freedom.”\u003c/p>\n\u003cp>“Here I was projecting in the 23rd century what should have been quite simple,” \u003ca href=\"https://www.npr.org/2011/01/17/132942461/Star-Treks-Uhura-Reflects-On-MLK-Encounter\" target=\"_blank\" rel=\"noopener noreferrer\">Nichols told NPR in 2011\u003c/a>. “We’re on a starship. I was head communications officer. Fourth in command on a starship. They didn’t see this as being, ‘Oh, it doesn’t happen ’til the 23rd century.’ Young people and adults saw it as now.”\u003c/p>\n\u003cp>In 1968, Nichols made headlines when Uhura shared an intimate kiss with Captain James T. Kirk (played by William Shatner) in an episode called “Plato’s Stepchildren.” Their interracial kiss on the lips was revolutionary, one of the first such moments on TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lThvEsP5-9Y\u003c/p>\n\u003cp>Nichols was born Grace Dell Nichols in a Chicago suburb where her father was the mayor. She grew up singing and dancing, aspiring to star in musical theater. She got her first break in the 1961 musical \u003cem>Kicks and Co\u003c/em>., a thinly veiled satire of \u003cem>Playboy\u003c/em> magazine. She was the star of the Chicago stock company production of Carmen Jones, and in New York performed in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>‘To me, the highlight and the epitome of my life as a singer and actor and a dancer/choreographer was to star on Broadway,” she told NPR in 2011, adding that as her popularity on \u003cem>Star Trek \u003c/em>grew, she was beginning to get other offers. “I decided I was going to leave, go to New York and make my way on the Broadway stage.”\u003c/p>\n\u003cp>Nichols said she went to Gene Roddenberry, the creator of \u003cem>Star Trek\u003c/em>, and announced she was quitting. “He was very upset about it. And he said, take the weekend and think about what I am trying to achieve here in this show. You’re an integral part and very important to it.”\u003c/p>\n\u003cp>So that weekend, she went to an NAACP fundraiser in Beverly Hills and was asked to meet a man who said he was her number one fan: Martin Luther King, Jr.\u003c/p>\n\u003cp>“He complimented me on the manner in which I’d created the character. I thanked him, and I think I said something like, ‘Dr. King, I wish I could be out there marching with you.’ He said, ‘No, no, no. No, you don’t understand. We don’t need you … to march. You are marching. You are reflecting what we are fighting for.’ So, I said to him, ‘Thank you so much. And I’m going to miss my co-stars.'”\u003c/p>\n\u003cp>“His face got very, very serious,” she recalled. “And he said, ‘what are you talking about?’ And I said, ‘well, I told Gene just yesterday that I’m going to leave the show after the first year because I’ve been offered… And he stopped me and said: ‘You cannot do that.’ I was stunned. He said, ‘don’t you understand what this man has achieved? For the first time, we are being seen the world over as we should be seen. He says, do you understand that this is the only show that my wife Coretta and I will allow our little children to stay up and watch.’ I was speechless.”\u003c/p>\n\u003cp>Nichols returned to the series, which lasted until 1969. She also reprised her famous role in six subsequent feature films, including \u003cem>Star Trek II: The Wrath of Khan\u003c/em>, where Uhura was promoted to commander\u003cem>. \u003c/em>\u003c/p>\n\u003cp>For years, Nichols also helped diversify the real-life space program, helping to recruit astronauts Sally Ride, Judith Resnik, Guion Bluford, and others. And she had her own science foundation, \u003ca href=\"http://womaninmotionmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women in Motion\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/RealLyndaCarter/status/1553830659268943872\u003c/p>\n\u003cp>“Many actors become stars, but few stars can move a nation,” tweeted actress Lynda Carter, who played Wonder Woman on TV in the 1970s. “Nichelle Nichols showed us the extraordinary power of Black women and paved the way for a better future for all women in media. Thank you, Nichelle. We will miss you.”\u003c/p>\n\u003cp>George Takei, who costarred on Star Trek as helmsman Hikaru Sulu tweeted: “I shall have more to say about the trailblazing, incomparable Nichelle Nichols, who shared the bridge with us as Lt. Uhura of the USS Enterprise,” her wrote. “For today, my heart is heavy, my eyes shining like the stars you now rest among, my dearest friend.”\u003c/p>\n\u003cp>He also posted a photo of his longtime friend, both of them flashing the Vulcan greeting, and these words: “We lived long and prospered together.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/GeorgeTakei/status/1553825543740686343\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nichelle+Nichols%2C+Lt.+Uhura+on+%27Star+Trek%2C%27+dies+at+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress and singer Nichelle Nichols, best known as \u003cem>Star Trek\u003c/em>‘s communications officer Lieutenant Uhura, died Saturday night in Silver City, New Mexico. She was 89 years old.\u003c/p>\n\u003cp>“I regret to inform you that a great light in the firmament no longer shines for us as it has for so many years,” \u003ca href=\"https://uhura.com/\" target=\"_blank\" rel=\"noopener noreferrer\">her son Kyle Johnson wrote on the website Uhura.com\u003c/a>. “Her light, however, like the ancient galaxies now being seen for the first time, will remain for us and future generations to enjoy, learn from, and draw inspiration.”\u003c/p>\n\u003cp>Nichols was one of the first Black women featured in a major television series, and her role as Lt. Nyota Uhura on the original TV series was groundbreaking: an African American woman whose name came from Uhuru, the Swahili word for “freedom.”\u003c/p>\n\u003cp>“Here I was projecting in the 23rd century what should have been quite simple,” \u003ca href=\"https://www.npr.org/2011/01/17/132942461/Star-Treks-Uhura-Reflects-On-MLK-Encounter\" target=\"_blank\" rel=\"noopener noreferrer\">Nichols told NPR in 2011\u003c/a>. “We’re on a starship. I was head communications officer. Fourth in command on a starship. They didn’t see this as being, ‘Oh, it doesn’t happen ’til the 23rd century.’ Young people and adults saw it as now.”\u003c/p>\n\u003cp>In 1968, Nichols made headlines when Uhura shared an intimate kiss with Captain James T. Kirk (played by William Shatner) in an episode called “Plato’s Stepchildren.” Their interracial kiss on the lips was revolutionary, one of the first such moments on TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lThvEsP5-9Y'\n title='//www.youtube.com/embed/lThvEsP5-9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols was born Grace Dell Nichols in a Chicago suburb where her father was the mayor. She grew up singing and dancing, aspiring to star in musical theater. She got her first break in the 1961 musical \u003cem>Kicks and Co\u003c/em>., a thinly veiled satire of \u003cem>Playboy\u003c/em> magazine. She was the star of the Chicago stock company production of Carmen Jones, and in New York performed in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>‘To me, the highlight and the epitome of my life as a singer and actor and a dancer/choreographer was to star on Broadway,” she told NPR in 2011, adding that as her popularity on \u003cem>Star Trek \u003c/em>grew, she was beginning to get other offers. “I decided I was going to leave, go to New York and make my way on the Broadway stage.”\u003c/p>\n\u003cp>Nichols said she went to Gene Roddenberry, the creator of \u003cem>Star Trek\u003c/em>, and announced she was quitting. “He was very upset about it. And he said, take the weekend and think about what I am trying to achieve here in this show. You’re an integral part and very important to it.”\u003c/p>\n\u003cp>So that weekend, she went to an NAACP fundraiser in Beverly Hills and was asked to meet a man who said he was her number one fan: Martin Luther King, Jr.\u003c/p>\n\u003cp>“He complimented me on the manner in which I’d created the character. I thanked him, and I think I said something like, ‘Dr. King, I wish I could be out there marching with you.’ He said, ‘No, no, no. No, you don’t understand. We don’t need you … to march. You are marching. You are reflecting what we are fighting for.’ So, I said to him, ‘Thank you so much. And I’m going to miss my co-stars.'”\u003c/p>\n\u003cp>“His face got very, very serious,” she recalled. “And he said, ‘what are you talking about?’ And I said, ‘well, I told Gene just yesterday that I’m going to leave the show after the first year because I’ve been offered… And he stopped me and said: ‘You cannot do that.’ I was stunned. He said, ‘don’t you understand what this man has achieved? For the first time, we are being seen the world over as we should be seen. He says, do you understand that this is the only show that my wife Coretta and I will allow our little children to stay up and watch.’ I was speechless.”\u003c/p>\n\u003cp>Nichols returned to the series, which lasted until 1969. She also reprised her famous role in six subsequent feature films, including \u003cem>Star Trek II: The Wrath of Khan\u003c/em>, where Uhura was promoted to commander\u003cem>. \u003c/em>\u003c/p>\n\u003cp>For years, Nichols also helped diversify the real-life space program, helping to recruit astronauts Sally Ride, Judith Resnik, Guion Bluford, and others. And she had her own science foundation, \u003ca href=\"http://womaninmotionmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women in Motion\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Many actors become stars, but few stars can move a nation,” tweeted actress Lynda Carter, who played Wonder Woman on TV in the 1970s. “Nichelle Nichols showed us the extraordinary power of Black women and paved the way for a better future for all women in media. Thank you, Nichelle. We will miss you.”\u003c/p>\n\u003cp>George Takei, who costarred on Star Trek as helmsman Hikaru Sulu tweeted: “I shall have more to say about the trailblazing, incomparable Nichelle Nichols, who shared the bridge with us as Lt. Uhura of the USS Enterprise,” her wrote. “For today, my heart is heavy, my eyes shining like the stars you now rest among, my dearest friend.”\u003c/p>\n\u003cp>He also posted a photo of his longtime friend, both of them flashing the Vulcan greeting, and these words: “We lived long and prospered together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "The Day Bill Russell Roasted Me At McClymonds",
"headTitle": "The Day Bill Russell Roasted Me At McClymonds | KQED",
"content": "\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\">W\u003c/span>hen I met the late Bill Russell in 2012, I knew all about the awards and championships. I read articles on the racism he faced on and off the court, as well as his civil rights work. And of course, I knew about his upbringing in Oakland. But I didn’t know about his sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13916848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07541-800x532.jpg\" alt=\"Mr. Bill Russell with a student and staff at McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell with a student and staff at McClymonds High School in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Mr. Russell, my name is Pen,” I respectfully introduced myself, in the parking lot of his alma mater. He instantly questioned me.\u003c/p>\n\u003cp>“Pen, did you catch him?” he asked in a serious tone.\u003c/p>\n\u003cp>Caught off-guard, I responded, “Uhhhh, catch who?”\u003c/p>\n\u003cp>Pointing at my long beard, he says, “The gentleman who stole your razor!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roasted. He got me.\u003c/p>\n\u003cp>The interaction made for a perfect entry in my \u003ca href=\"https://ogtoldme.tumblr.com/post/18941506501/i-went-to-introduce-myself-to-bill-russell-og\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a> series, a photoessay dedicated to documenting the wisdom of older Black men in my community. It wasn’t that he’d said anything profound, necessarily. It was what he’d showed me: that simply comical interaction from a person who has so many badges of honor is a mark of humility (served to me with a small side of humiliation).\u003c/p>\n\u003cfigure id=\"attachment_13916846\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg\" alt=\"A school security guard and Mr. Bill Russell share a laugh.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A school security guard and Bill Russell share a laugh. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">D\u003c/span>uring that stop at McClymonds High School, he visited classrooms, media production spaces and athletic facilities. I followed as the campus security guards turned into little boys in his presence. School administrators giggled. The loud students got shy. Russell interacted with them all.\u003c/p>\n\u003cp>With the assistance of a student, a teacher and artist named Rose Marr had just completed a portrait of Russell. She was noticeably excited as she showed it to him. He smiled and laughed, asked her about another artist, and then mentioned that he was that artist’s first teacher.\u003c/p>\n\u003cfigure id=\"attachment_13916851\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg\" alt=\"Artist and educator Rose Marr meeting Mr. Bill Russell for the first time.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator Rose Marr meeting Bill Russell for the first time. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most memorable was Russell’s reaction to the wall inside the center used for after school programs. That’s where I led a class. A list of agreements for students who occupied that space included things like, “Step Up, Step Back” and “Clean Up After Yourself.”\u003c/p>\n\u003cp>You ever laugh because you hear someone’s else’s laugh? That’s what happened when I heard the laugh that erupted from Russell as he read the rule of “No Booty on Duty.”\u003c/p>\n\u003cfigure id=\"attachment_13916847\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg\" alt='Agreements set by students in the after school space, including \"no booty on duty.\"' width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Agreements set by students in the after school space, including “No Booty on Duty.” \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s what I kept thinking about when I read the news that Bill Russell passed at the age of 88 yesterday morning, a sad day for sports fans, social justice advocates and Bay Area folks alike. I just keep smiling and laughing, thinking about the run-in we had in West Oakland. It’s often mentioned, but they don’t talk \u003cem>enough\u003c/em> about Bill Russell’s sense of humor.\u003c/p>\n\u003cp>Russell’s greatness is well documented. A graduate of Oakland’s McClymonds High School, who won two NCAA national championships as a USF Don and a 1956 Olympic Gold with team USA. He’d go on to win 11 NBA championships, become the first African American coach in pro sports and a receive a Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003cfigure id=\"attachment_13916852\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916852\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg\" alt=\"Rapper, producer and educator Azure meets with Mr. Bill Russell in the McClymonds audio program's studio.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rapper, producer and educator Azure meets with Bill Russell in the McClymonds audio program’s studio. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Russell’s efforts to fight racism in America are widely known. He was present at Rev. Martin Luther King Jr.’s “I Have A Dream” speech. He led a basketball camp in Mississippi after the assassination of Medgar Evers. An outspoken supporter of \u003ca href=\"https://twitter.com/RealBillRussell/status/1101090173222154240?s=20&t=sCjVcOsN-HGXoK1v2JS0YA\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Kaepernick\u003c/a> and a critic of American policing, in the wake of George Floyd’s murder \u003ca href=\"https://www.slamonline.com/the-magazine/bill-russells-lifelong-fight-against-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">Russell penned an essay\u003c/a> about his lifelong battle with racism.\u003c/p>\n\u003cp>The photo from the meeting known as the \u003ca href=\"https://andscape.com/features/the-cleveland-summit-muhammad-ali/\" target=\"_blank\" rel=\"noopener noreferrer\">Muhammad Ali Summit or the Cleveland Summit\u003c/a>—a conference of famed professional athletes including Muhammad Ali, Jim Brown and Kareem Abdul-Jabbar—is one of the most iconic images in sports history.\u003c/p>\n\u003cp>But the image of Russell \u003ca href=\"https://www.youtube.com/watch?v=WH4Z8kddGe4\" target=\"_blank\" rel=\"noopener noreferrer\">flipping the bird at Charles Barkley\u003c/a> during an NBA award show in 2018 gives you a glance at the guy I followed around with a camera for a few minutes in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13916850\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg\" alt=\"Inside of an elevator with a school security guard and Mr. Bill Russell at McClymonds High School.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Inside of an elevator with a school security guard and Bill Russell at McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">I\u003c/span> got to ride on an elevator with a human who represents American history. Before being part of one of the greatest professional sports dynasties ever, he was part of the Great Migration.\u003c/p>\n\u003cp>After a childhood in West Monroe, Louisiana, he moved with his family to West Oakland, and to a high school environment that produced athletes like Vada Pinson Jr. (former MLB player), Curt Flood (former MLB player and free agency advocate) and Frank Robinson (MLB superstar and the first African American MLB manager).\u003c/p>\n\u003cfigure id=\"attachment_13916849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07533-800x532.jpg\" alt=\"Bill Russell getting a student-led tour of McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell getting a student-led tour of McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Names like those used to be listed on a Distinguished McClymonds Graduates wall that wasn’t too far from where the “No Booty on Duty” agreements were listed. What’s funny is I don’t recall Russell’s reaction to seeing the names on that wall—not even his own. But I’ll never forget how the entire school responded to seeing one of the names on that wall in real life.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\">W\u003c/span>hen I met the late Bill Russell in 2012, I knew all about the awards and championships. I read articles on the racism he faced on and off the court, as well as his civil rights work. And of course, I knew about his upbringing in Oakland. But I didn’t know about his sense of humor.\u003c/p>\n\u003cfigure id=\"attachment_13916848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07541-800x532.jpg\" alt=\"Mr. Bill Russell with a student and staff at McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07541-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell with a student and staff at McClymonds High School in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Mr. Russell, my name is Pen,” I respectfully introduced myself, in the parking lot of his alma mater. He instantly questioned me.\u003c/p>\n\u003cp>“Pen, did you catch him?” he asked in a serious tone.\u003c/p>\n\u003cp>Caught off-guard, I responded, “Uhhhh, catch who?”\u003c/p>\n\u003cp>Pointing at my long beard, he says, “The gentleman who stole your razor!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Roasted. He got me.\u003c/p>\n\u003cp>The interaction made for a perfect entry in my \u003ca href=\"https://ogtoldme.tumblr.com/post/18941506501/i-went-to-introduce-myself-to-bill-russell-og\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a> series, a photoessay dedicated to documenting the wisdom of older Black men in my community. It wasn’t that he’d said anything profound, necessarily. It was what he’d showed me: that simply comical interaction from a person who has so many badges of honor is a mark of humility (served to me with a small side of humiliation).\u003c/p>\n\u003cfigure id=\"attachment_13916846\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg\" alt=\"A school security guard and Mr. Bill Russell share a laugh.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07528-scaled-e1659335117752.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A school security guard and Bill Russell share a laugh. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">D\u003c/span>uring that stop at McClymonds High School, he visited classrooms, media production spaces and athletic facilities. I followed as the campus security guards turned into little boys in his presence. School administrators giggled. The loud students got shy. Russell interacted with them all.\u003c/p>\n\u003cp>With the assistance of a student, a teacher and artist named Rose Marr had just completed a portrait of Russell. She was noticeably excited as she showed it to him. He smiled and laughed, asked her about another artist, and then mentioned that he was that artist’s first teacher.\u003c/p>\n\u003cfigure id=\"attachment_13916851\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916851\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg\" alt=\"Artist and educator Rose Marr meeting Mr. Bill Russell for the first time.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07575-scaled-e1659336394235.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Artist and educator Rose Marr meeting Bill Russell for the first time. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most memorable was Russell’s reaction to the wall inside the center used for after school programs. That’s where I led a class. A list of agreements for students who occupied that space included things like, “Step Up, Step Back” and “Clean Up After Yourself.”\u003c/p>\n\u003cp>You ever laugh because you hear someone’s else’s laugh? That’s what happened when I heard the laugh that erupted from Russell as he read the rule of “No Booty on Duty.”\u003c/p>\n\u003cfigure id=\"attachment_13916847\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916847\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg\" alt='Agreements set by students in the after school space, including \"no booty on duty.\"' width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07539-scaled-e1659335231599.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Agreements set by students in the after school space, including “No Booty on Duty.” \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s what I kept thinking about when I read the news that Bill Russell passed at the age of 88 yesterday morning, a sad day for sports fans, social justice advocates and Bay Area folks alike. I just keep smiling and laughing, thinking about the run-in we had in West Oakland. It’s often mentioned, but they don’t talk \u003cem>enough\u003c/em> about Bill Russell’s sense of humor.\u003c/p>\n\u003cp>Russell’s greatness is well documented. A graduate of Oakland’s McClymonds High School, who won two NCAA national championships as a USF Don and a 1956 Olympic Gold with team USA. He’d go on to win 11 NBA championships, become the first African American coach in pro sports and a receive a Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003cfigure id=\"attachment_13916852\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916852\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg\" alt=\"Rapper, producer and educator Azure meets with Mr. Bill Russell in the McClymonds audio program's studio.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07525-scaled-e1659336825152.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Rapper, producer and educator Azure meets with Bill Russell in the McClymonds audio program’s studio. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Russell’s efforts to fight racism in America are widely known. He was present at Rev. Martin Luther King Jr.’s “I Have A Dream” speech. He led a basketball camp in Mississippi after the assassination of Medgar Evers. An outspoken supporter of \u003ca href=\"https://twitter.com/RealBillRussell/status/1101090173222154240?s=20&t=sCjVcOsN-HGXoK1v2JS0YA\" target=\"_blank\" rel=\"noopener noreferrer\">Colin Kaepernick\u003c/a> and a critic of American policing, in the wake of George Floyd’s murder \u003ca href=\"https://www.slamonline.com/the-magazine/bill-russells-lifelong-fight-against-racism/\" target=\"_blank\" rel=\"noopener noreferrer\">Russell penned an essay\u003c/a> about his lifelong battle with racism.\u003c/p>\n\u003cp>The photo from the meeting known as the \u003ca href=\"https://andscape.com/features/the-cleveland-summit-muhammad-ali/\" target=\"_blank\" rel=\"noopener noreferrer\">Muhammad Ali Summit or the Cleveland Summit\u003c/a>—a conference of famed professional athletes including Muhammad Ali, Jim Brown and Kareem Abdul-Jabbar—is one of the most iconic images in sports history.\u003c/p>\n\u003cp>But the image of Russell \u003ca href=\"https://www.youtube.com/watch?v=WH4Z8kddGe4\" target=\"_blank\" rel=\"noopener noreferrer\">flipping the bird at Charles Barkley\u003c/a> during an NBA award show in 2018 gives you a glance at the guy I followed around with a camera for a few minutes in 2012.\u003c/p>\n\u003cfigure id=\"attachment_13916850\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13916850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg\" alt=\"Inside of an elevator with a school security guard and Mr. Bill Russell at McClymonds High School.\" width=\"640\" height=\"961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07560-scaled-e1659336213637.jpg 1704w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Inside of an elevator with a school security guard and Bill Russell at McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">I\u003c/span> got to ride on an elevator with a human who represents American history. Before being part of one of the greatest professional sports dynasties ever, he was part of the Great Migration.\u003c/p>\n\u003cp>After a childhood in West Monroe, Louisiana, he moved with his family to West Oakland, and to a high school environment that produced athletes like Vada Pinson Jr. (former MLB player), Curt Flood (former MLB player and free agency advocate) and Frank Robinson (MLB superstar and the first African American MLB manager).\u003c/p>\n\u003cfigure id=\"attachment_13916849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/DSC07533-800x532.jpg\" alt=\"Bill Russell getting a student-led tour of McClymonds High School. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/DSC07533-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell getting a student-led tour of McClymonds High School. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Names like those used to be listed on a Distinguished McClymonds Graduates wall that wasn’t too far from where the “No Booty on Duty” agreements were listed. What’s funny is I don’t recall Russell’s reaction to seeing the names on that wall—not even his own. But I’ll never forget how the entire school responded to seeing one of the names on that wall in real life.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Russell, Basketball Great and Champion of Civil Rights, Dies at 88",
"headTitle": "Bill Russell, Basketball Great and Champion of Civil Rights, Dies at 88 | KQED",
"content": "\u003cp>Bill Russell, the NBA great who began his career in Oakland, anchored a Boston Celtics dynasty that won 11 championships in 13 years—the last two as the first Black head coach in any major U.S. sport—and marched for civil rights with Martin Luther King Jr., died Sunday. He was 88.\u003c/p>\n\u003cp>His family \u003ca href=\"https://twitter.com/RealBillRussell/status/1553790050839588865\" target=\"_blank\" rel=\"noopener noreferrer\">posted the news on social media\u003c/a>, saying Russell died with his wife, Jeannine, by his side. The statement did not give the cause of death.\u003c/p>\n\u003cp>“Bill’s wife, Jeannine, and his many friends and family thank you for keeping Bill in your prayers. Perhaps you’ll relive one or two of the golden moments he gave us, or recall his trademark laugh as he delighted in explaining the real story behind how those moments unfolded,” the family statement said. “And we hope each of us can find a new way to act or speak up with Bill’s uncompromising, dignified and always constructive commitment to principle. That would be one last, and lasting, win for our beloved #6.”\u003c/p>\n\u003cp>NBA Commissioner Adam Silver said in a statement that Russell was “the greatest champion in all of team sports.”\u003c/p>\n\u003cp>“Bill stood for something much bigger than sports: the values of equality, respect and inclusion that he stamped into the DNA of our league. At the height of his athletic career, Bill advocated vigorously for civil rights and social justice, a legacy he passed down to generations of NBA players who followed in his footsteps,” Silver said. “Through the taunts, threats and unthinkable adversity, Bill rose above it all and remained true to his belief that everyone deserves to be treated with dignity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13916830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/BillRussell.ObamaWH-800x533.jpg\" alt=\"A tall Black man in a blue suit stands in a wing of the White House with the President and First Lady.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A Hall of Famer, five-time Most Valuable Player and 12-time All-Star, Russell in 1980 was voted the greatest player in the NBA history by basketball writers. He remains the sport’s most prolific winner and an archetype of selflessness who won with defense and rebounding while leaving the scoring to others. Often, that meant Wilt Chamberlain, the only player of the era who was a worthy rival for Russell.\u003c/p>\n\u003cp>But Russell dominated in the only stat he cared about: 11 championships to two.\u003c/p>\n\u003cp>The native of Louisiana also left a lasting mark as a Black athlete in a city—and country—where race is often a flash point. He was at the March on Washington in 1963, when Martin Luther King Jr. gave his “I Have a Dream” speech, and he backed Muhammad Ali when the boxer was pilloried for refusing induction into the military draft.\u003c/p>\n\u003cp>In 2011, President Barack Obama awarded Russell the Medal of Freedom alongside Congressman John Lewis, billionaire investor Warren Buffett, German Chancellor Angela Merkel and baseball great Stan Musial.\u003c/p>\n\u003cp>“Bill Russell, the man, is someone who stood up for the rights and dignity of all men,” Obama said at the ceremony. “He marched with King; he stood by Ali. When a restaurant refused to serve the Black Celtics, he refused to play in the scheduled game. He endured insults and vandalism, but he kept on focusing on making the teammates who he loved better players and made possible the success of so many who would follow.”\u003c/p>\n\u003cp>[aside postID='news_11725053']Russell said that when he was growing up in the segregated South and later California his parents instilled in him the calm confidence that allowed him to brush off \u003ca href=\"https://twitter.com/austin_walker/status/1553795496002682884\" target=\"_blank\" rel=\"noopener noreferrer\">racist taunts and abuse\u003c/a>.\u003c/p>\n\u003cp>“Years later, people asked me what I had to go through,” Russell said in 2008. “Unfortunately, or fortunately, I’ve never been through anything. From my first moment of being alive was the notion that my mother and father loved me.” It was Russell’s mother who would tell him to disregard comments from those who might see him playing in the yard.\u003c/p>\n\u003cp>“Whatever they say, good or bad, they don’t know you,” he recalled her saying. “They’re wrestling with their own demons.”\u003c/p>\n\u003cp>But it was Jackie Robinson who gave Russell a road map for dealing with racism in his sport: “Jackie was a hero to us. He always conducted himself as a man. He showed me the way to be a man in professional sports.”\u003c/p>\n\u003cp>The feeling was mutual, Russell learned, when Robinson’s widow, Rachel, called and asked him to be a pallbearer at her husband’s funeral in 1972.\u003c/p>\n\u003cp>“She hung the phone up and I asked myself, ‘How do you get to be a hero to Jackie Robinson?’” Russell said. “I was so flattered.”\u003c/p>\n\u003cfigure id=\"attachment_13916829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-800x598.jpg\" alt=\"A young Black athlete barely clears a high-jump car against a white background\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell clears a high jump bar at six feet, eight inches in a University of San Francisco-College of the Pacific track meet in the early 1950s. \u003ccite>(Bettmann Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>William Felton Russell was born on Feb. 12, 1934, in Monroe, Louisiana. He was a child when his family moved to the West Coast, and he went to McClymonds High School in Oakland, California, where Russell’s basketball career got off to an uneven start. He was cut from the team at Herbert Hoover Junior High School, and later, at McClymonds, played as an extra during his senior year.\u003c/p>\n\u003cp>Still, Russell often spoke highly of McClymonds’ coach, George Powles, as an inspiration, and made appearances in Oakland regularly.\u003c/p>\n\u003cp>After graduating early from McClymonds, Russell attended the University of San Francisco. He led the Dons to NCAA championships in 1955 and 1956 and won a gold medal in 1956 at the Melbourne Olympics in Australia.\u003c/p>\n\u003cp>Celtics coach and general manager Red Auerbach so coveted Russell that he worked out a trade with the St. Louis Hawks for the second pick in the draft. He promised the Rochester Royals, who owned the No. 1 pick, a lucrative visit by the Ice Capades, which were also run by Celtics owner Walter Brown. \u003c/p>\n\u003cp>Still, Russell arrived in Boston to complaints that he wasn’t that good. “People said it was a wasted draft choice, wasted money,” he recalled. “They said, ‘He’s no good. All he can do is block shots and rebound.’ And Red said, ‘That’s enough.’”\u003c/p>\n\u003cp>The Celtics also picked up Tommy Heinsohn and K.C. Jones, Russell’s college teammate, in the same draft. Although Russell joined the team late because he was leading the U.S. to the Olympic gold, Boston finished the regular season with the league’s best record.\u003c/p>\n\u003cp>The Celtics won the NBA championship—their first of 17—in a double-overtime seventh game against Bob Pettit’s St. Louis Hawks. Russell won his first MVP award the next season, but the Hawks won the title in a finals rematch. The Celtics won it all again in 1959, starting an unprecedented string of eight consecutive NBA crowns.\u003c/p>\n\u003cp>A 6-foot-10 center, Russell never averaged more than 18.9 points during his 13 seasons, each year averaging more rebounds per game than points. For 10 seasons he averaged more than 20 rebounds. He once had 51 rebounds in a game; Chamberlain holds the record with 55.\u003c/p>\n\u003cfigure id=\"attachment_13916828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/BillRussell.Stands-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Basketball Hall of Fame member Bill Russell attends a game between the Minnesota Lynx and the Las Vegas Aces on July 21, 2019 in Las Vegas. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Auerbach retired after winning the 1966 title, and Russell became the player-coach—the first Black head coach in NBA history, and almost a decade before Frank Robinson took over baseball’s Cleveland Indians. Boston finished with the best regular-season record in the NBA, but its title streak ended with a loss to Chamberlain and the Philadelphia 76ers in the Eastern Division finals.\u003c/p>\n\u003cp>Russell led the Celtics back to titles in 1968 and ’69, each time winning seven-game playoff series against Chamberlain. Russell retired after the ’69 finals, returning for a relatively successful—but unfulfilling—four-year stint as coach and GM of the Seattle SuperSonics and a less fruitful half season as coach of the Sacramento Kings.\u003c/p>\n\u003cp>Russell’s No. 6 jersey was retired by the Celtics in 1972. He earned spots on the NBA’s 25th anniversary all-time team in 1970, 35th anniversary team in 1980 and 75th anniversary team. In 1996, he was hailed as one of the NBA’s 50 greatest players. In 2009, the MVP trophy of the NBA Finals was named in his honor.\u003c/p>\n\u003cp>In 2013, a statue was unveiled on Boston’s City Hall Plaza of Russell surrounded by blocks of granite with quotes on leadership and character. Russell was inducted into the Basketball Hall of Fame in 1975 but did not attend the ceremony, saying he should not have been the first African American elected. (Chuck Cooper, the NBA’s first Black player, was his choice.)\u003c/p>\n\u003cp>In 2019, Russell accepted his Hall of Fame ring in a private gathering. “I felt others before me should have had that honor,” he tweeted. “Good to see progress.”\u003c/p>\n\u003cp>“I cherished my friendship with Bill and was thrilled when he received the Presidential Medal of Freedom,” Silver said in his statement. “I often called him basketball’s Babe Ruth for how he transcended time. Bill was the ultimate winner and consummate teammate, and his influence on the NBA will be felt forever. We send our deepest condolences to his wife, Jeannine, his family and his many friends.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>His family said that arrangements for Russell’s memorial service will be announced in the coming days.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bill Russell, the NBA great who began his career in Oakland, anchored a Boston Celtics dynasty that won 11 championships in 13 years—the last two as the first Black head coach in any major U.S. sport—and marched for civil rights with Martin Luther King Jr., died Sunday. He was 88.\u003c/p>\n\u003cp>His family \u003ca href=\"https://twitter.com/RealBillRussell/status/1553790050839588865\" target=\"_blank\" rel=\"noopener noreferrer\">posted the news on social media\u003c/a>, saying Russell died with his wife, Jeannine, by his side. The statement did not give the cause of death.\u003c/p>\n\u003cp>“Bill’s wife, Jeannine, and his many friends and family thank you for keeping Bill in your prayers. Perhaps you’ll relive one or two of the golden moments he gave us, or recall his trademark laugh as he delighted in explaining the real story behind how those moments unfolded,” the family statement said. “And we hope each of us can find a new way to act or speak up with Bill’s uncompromising, dignified and always constructive commitment to principle. That would be one last, and lasting, win for our beloved #6.”\u003c/p>\n\u003cp>NBA Commissioner Adam Silver said in a statement that Russell was “the greatest champion in all of team sports.”\u003c/p>\n\u003cp>“Bill stood for something much bigger than sports: the values of equality, respect and inclusion that he stamped into the DNA of our league. At the height of his athletic career, Bill advocated vigorously for civil rights and social justice, a legacy he passed down to generations of NBA players who followed in his footsteps,” Silver said. “Through the taunts, threats and unthinkable adversity, Bill rose above it all and remained true to his belief that everyone deserves to be treated with dignity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13916830\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/BillRussell.ObamaWH-800x533.jpg\" alt=\"A tall Black man in a blue suit stands in a wing of the White House with the President and First Lady.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.ObamaWH.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>A Hall of Famer, five-time Most Valuable Player and 12-time All-Star, Russell in 1980 was voted the greatest player in the NBA history by basketball writers. He remains the sport’s most prolific winner and an archetype of selflessness who won with defense and rebounding while leaving the scoring to others. Often, that meant Wilt Chamberlain, the only player of the era who was a worthy rival for Russell.\u003c/p>\n\u003cp>But Russell dominated in the only stat he cared about: 11 championships to two.\u003c/p>\n\u003cp>The native of Louisiana also left a lasting mark as a Black athlete in a city—and country—where race is often a flash point. He was at the March on Washington in 1963, when Martin Luther King Jr. gave his “I Have a Dream” speech, and he backed Muhammad Ali when the boxer was pilloried for refusing induction into the military draft.\u003c/p>\n\u003cp>In 2011, President Barack Obama awarded Russell the Medal of Freedom alongside Congressman John Lewis, billionaire investor Warren Buffett, German Chancellor Angela Merkel and baseball great Stan Musial.\u003c/p>\n\u003cp>“Bill Russell, the man, is someone who stood up for the rights and dignity of all men,” Obama said at the ceremony. “He marched with King; he stood by Ali. When a restaurant refused to serve the Black Celtics, he refused to play in the scheduled game. He endured insults and vandalism, but he kept on focusing on making the teammates who he loved better players and made possible the success of so many who would follow.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Russell said that when he was growing up in the segregated South and later California his parents instilled in him the calm confidence that allowed him to brush off \u003ca href=\"https://twitter.com/austin_walker/status/1553795496002682884\" target=\"_blank\" rel=\"noopener noreferrer\">racist taunts and abuse\u003c/a>.\u003c/p>\n\u003cp>“Years later, people asked me what I had to go through,” Russell said in 2008. “Unfortunately, or fortunately, I’ve never been through anything. From my first moment of being alive was the notion that my mother and father loved me.” It was Russell’s mother who would tell him to disregard comments from those who might see him playing in the yard.\u003c/p>\n\u003cp>“Whatever they say, good or bad, they don’t know you,” he recalled her saying. “They’re wrestling with their own demons.”\u003c/p>\n\u003cp>But it was Jackie Robinson who gave Russell a road map for dealing with racism in his sport: “Jackie was a hero to us. He always conducted himself as a man. He showed me the way to be a man in professional sports.”\u003c/p>\n\u003cp>The feeling was mutual, Russell learned, when Robinson’s widow, Rachel, called and asked him to be a pallbearer at her husband’s funeral in 1972.\u003c/p>\n\u003cp>“She hung the phone up and I asked myself, ‘How do you get to be a hero to Jackie Robinson?’” Russell said. “I was so flattered.”\u003c/p>\n\u003cfigure id=\"attachment_13916829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916829\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-800x598.jpg\" alt=\"A young Black athlete barely clears a high-jump car against a white background\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.USF_.HighJump.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bill Russell clears a high jump bar at six feet, eight inches in a University of San Francisco-College of the Pacific track meet in the early 1950s. \u003ccite>(Bettmann Collection/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>William Felton Russell was born on Feb. 12, 1934, in Monroe, Louisiana. He was a child when his family moved to the West Coast, and he went to McClymonds High School in Oakland, California, where Russell’s basketball career got off to an uneven start. He was cut from the team at Herbert Hoover Junior High School, and later, at McClymonds, played as an extra during his senior year.\u003c/p>\n\u003cp>Still, Russell often spoke highly of McClymonds’ coach, George Powles, as an inspiration, and made appearances in Oakland regularly.\u003c/p>\n\u003cp>After graduating early from McClymonds, Russell attended the University of San Francisco. He led the Dons to NCAA championships in 1955 and 1956 and won a gold medal in 1956 at the Melbourne Olympics in Australia.\u003c/p>\n\u003cp>Celtics coach and general manager Red Auerbach so coveted Russell that he worked out a trade with the St. Louis Hawks for the second pick in the draft. He promised the Rochester Royals, who owned the No. 1 pick, a lucrative visit by the Ice Capades, which were also run by Celtics owner Walter Brown. \u003c/p>\n\u003cp>Still, Russell arrived in Boston to complaints that he wasn’t that good. “People said it was a wasted draft choice, wasted money,” he recalled. “They said, ‘He’s no good. All he can do is block shots and rebound.’ And Red said, ‘That’s enough.’”\u003c/p>\n\u003cp>The Celtics also picked up Tommy Heinsohn and K.C. Jones, Russell’s college teammate, in the same draft. Although Russell joined the team late because he was leading the U.S. to the Olympic gold, Boston finished the regular season with the league’s best record.\u003c/p>\n\u003cp>The Celtics won the NBA championship—their first of 17—in a double-overtime seventh game against Bob Pettit’s St. Louis Hawks. Russell won his first MVP award the next season, but the Hawks won the title in a finals rematch. The Celtics won it all again in 1959, starting an unprecedented string of eight consecutive NBA crowns.\u003c/p>\n\u003cp>A 6-foot-10 center, Russell never averaged more than 18.9 points during his 13 seasons, each year averaging more rebounds per game than points. For 10 seasons he averaged more than 20 rebounds. He once had 51 rebounds in a game; Chamberlain holds the record with 55.\u003c/p>\n\u003cfigure id=\"attachment_13916828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/BillRussell.Stands-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/BillRussell.Stands.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Basketball Hall of Fame member Bill Russell attends a game between the Minnesota Lynx and the Las Vegas Aces on July 21, 2019 in Las Vegas. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Auerbach retired after winning the 1966 title, and Russell became the player-coach—the first Black head coach in NBA history, and almost a decade before Frank Robinson took over baseball’s Cleveland Indians. Boston finished with the best regular-season record in the NBA, but its title streak ended with a loss to Chamberlain and the Philadelphia 76ers in the Eastern Division finals.\u003c/p>\n\u003cp>Russell led the Celtics back to titles in 1968 and ’69, each time winning seven-game playoff series against Chamberlain. Russell retired after the ’69 finals, returning for a relatively successful—but unfulfilling—four-year stint as coach and GM of the Seattle SuperSonics and a less fruitful half season as coach of the Sacramento Kings.\u003c/p>\n\u003cp>Russell’s No. 6 jersey was retired by the Celtics in 1972. He earned spots on the NBA’s 25th anniversary all-time team in 1970, 35th anniversary team in 1980 and 75th anniversary team. In 1996, he was hailed as one of the NBA’s 50 greatest players. In 2009, the MVP trophy of the NBA Finals was named in his honor.\u003c/p>\n\u003cp>In 2013, a statue was unveiled on Boston’s City Hall Plaza of Russell surrounded by blocks of granite with quotes on leadership and character. Russell was inducted into the Basketball Hall of Fame in 1975 but did not attend the ceremony, saying he should not have been the first African American elected. (Chuck Cooper, the NBA’s first Black player, was his choice.)\u003c/p>\n\u003cp>In 2019, Russell accepted his Hall of Fame ring in a private gathering. “I felt others before me should have had that honor,” he tweeted. “Good to see progress.”\u003c/p>\n\u003cp>“I cherished my friendship with Bill and was thrilled when he received the Presidential Medal of Freedom,” Silver said in his statement. “I often called him basketball’s Babe Ruth for how he transcended time. Bill was the ultimate winner and consummate teammate, and his influence on the NBA will be felt forever. We send our deepest condolences to his wife, Jeannine, his family and his many friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His family said that arrangements for Russell’s memorial service will be announced in the coming days.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ilzidi_J8Q\u003c/p>\n\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Liotta is survived by one daughter, and was \u003ca href=\"https://www.instagram.com/p/CJXUuRolkPA/\" target=\"_blank\" rel=\"noopener noreferrer\">recently engaged \u003c/a>to Jacy Nittolo.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Goodfellas%27+star+Ray+Liotta+dead+at+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The actor Ray Liotta has died. According to his publicist, Jennifer Allen, Liotta was in the Dominican Republic shooting the movie \u003cem>Dangerous Waters, \u003c/em>when he died in his sleep. He was 67 years old.\u003c/p>\n\u003cp>The actor is perhaps best known for his role as Henry Hill in the 1990 Martin Scorsese movie \u003cem>Goodfellas, \u003c/em>where he helped shape the idea of a gangster movie for years to come. The movie was based on the non-fiction book \u003cem>Wise Guy\u003c/em> by Nicholas Pileggi. To prepare for the role, Liotta told WHYY’s \u003cem>Fresh Air \u003c/em>that he sat in his mother’s car and listened to hours and hours of tape of Hill being interviewed.\u003c/p>\n\u003cp>“And the biggest thing that I learned from it was just how casual they were—how casual Henry was about what happened,” said Liotta. “It was just like he was telling a story of what his kids were doing and how they played in a park, except they were talking about, you know, people getting killed or beaten.”\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/2ilzidi_J8Q'\n title='//www.youtube.com/embed/2ilzidi_J8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Liotta’s acting career spanned four decades and a variety of mediums. He won an Emmy for a guest stint on the television drama \u003cem>ER\u003c/em>. He starred in the hit game \u003cem>Grand Theft Auto: Vice City\u003c/em>. And he spent years on the police show \u003cem>Shades of Blue.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Vangelis, Famed Film Composer and Synth Pioneer, Dies at 79",
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"content": "\u003cp>Composer Vangelis, who gave the movie \u003cem>Chariots of Fire \u003c/em>its signature synth-driven sound, has died. He was 79 years old. According to his assistant Lefteris Zermas, Vangelis died on the May 17 in a hospital in Paris, due to heart failure. \u003c/p>\n\u003cp>Vangelis was born Evangelos Odysseas Papathanassiou in the Greek town of Agria. He was a self-taught musician who became a young piano prodigy. Then he moved to Paris and co-founded the popular prog-rock group \u003ca href=\"https://www.youtube.com/watch?v=3KCbqhJt16k\">Aphrodite’s Child\u003c/a>. The band eventually split and Vangelis got a solo record deal with RCA Records. \u003c/p>\n\u003cp>In 1981 he composed the score for \u003cem>Chariots of Fire\u003c/em>. Its opening theme, with its uplifting inspirational swell and ornate arrangement, was released as a single and reached the top of the \u003ca href=\"https://www.billboard.com/artist/vangelis/chart-history/tlp/\">Billboard Hot 100\u003c/a>. His efforts earned him a win for best original score at the Academy Awards. \u003c/p>\n\u003cp>The success led him to other film work. Notably, he composed the soundtrack for the original \u003cem>Blade Runner\u003c/em>, as well as Carl Sagan’s PBS documentary series \u003cem>Cosmos\u003c/em>. Outside of composing scores, Vangelis was prolific in his solo career, regularly releasing albums up until last year’s \u003cem>Juno to Jupiter. \u003c/em>\u003c/p>\n\u003cp>While he was most associated with the synthesizer, the instrument was also a source of frustration for him. “I’ve been using synthesizers for so many years, but they’ve never been designed properly. They create a lot of problems.” \u003ca href=\"https://www.npr.org/2016/10/17/497797809/from-composer-vangelis-a-true-story-set-in-outer-space\">he told NPR in 2016.\u003c/a> “The computers have completely different logic than the human logic.” So for his 2016 record \u003cem>Rosetta\u003c/em>, dedicated to the space probe of the same name, he simply built his own synthesizer. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult \u003cem>not\u003c/em> to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vangelis%2C+famed+film+composer+and+synth+pioneer%2C+dead+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer Vangelis, who gave the movie \u003cem>Chariots of Fire \u003c/em>its signature synth-driven sound, has died. He was 79 years old. According to his assistant Lefteris Zermas, Vangelis died on the May 17 in a hospital in Paris, due to heart failure. \u003c/p>\n\u003cp>Vangelis was born Evangelos Odysseas Papathanassiou in the Greek town of Agria. He was a self-taught musician who became a young piano prodigy. Then he moved to Paris and co-founded the popular prog-rock group \u003ca href=\"https://www.youtube.com/watch?v=3KCbqhJt16k\">Aphrodite’s Child\u003c/a>. The band eventually split and Vangelis got a solo record deal with RCA Records. \u003c/p>\n\u003cp>In 1981 he composed the score for \u003cem>Chariots of Fire\u003c/em>. Its opening theme, with its uplifting inspirational swell and ornate arrangement, was released as a single and reached the top of the \u003ca href=\"https://www.billboard.com/artist/vangelis/chart-history/tlp/\">Billboard Hot 100\u003c/a>. His efforts earned him a win for best original score at the Academy Awards. \u003c/p>\n\u003cp>The success led him to other film work. Notably, he composed the soundtrack for the original \u003cem>Blade Runner\u003c/em>, as well as Carl Sagan’s PBS documentary series \u003cem>Cosmos\u003c/em>. Outside of composing scores, Vangelis was prolific in his solo career, regularly releasing albums up until last year’s \u003cem>Juno to Jupiter. \u003c/em>\u003c/p>\n\u003cp>While he was most associated with the synthesizer, the instrument was also a source of frustration for him. “I’ve been using synthesizers for so many years, but they’ve never been designed properly. They create a lot of problems.” \u003ca href=\"https://www.npr.org/2016/10/17/497797809/from-composer-vangelis-a-true-story-set-in-outer-space\">he told NPR in 2016.\u003c/a> “The computers have completely different logic than the human logic.” So for his 2016 record \u003cem>Rosetta\u003c/em>, dedicated to the space probe of the same name, he simply built his own synthesizer. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult \u003cem>not\u003c/em> to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vangelis%2C+famed+film+composer+and+synth+pioneer%2C+dead+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13912010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg\" alt=\"Kevin Madrigal wears a blue and white collared shirt as he looks into the camera for a portrait photo.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_.jpg 1322w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Kevin Madrigal. \u003ccite>(Syd Yatco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Bittersweet’ by Kevin Madrigal Galindo\u003c/h2>\n\u003cp>\u003cem>Losing my sense of smell made me realize all food tastes the same and what are we at the end of the day if not the stories & memories associated with scents of the past.\u003c/em>\u003c/p>\n\u003cp>\u003cem>What I mean to say is COVID made me inhuman & contagious and I have never wanted to dissociate my mind from my body more than the sore throat, body aches, and isolation I was rewarded with for being reckless.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The first person to call and check in was my primo Luis in Guadalajara, whose father died from COVID and I can’t help but notice that he sounds more like my memory of his father. I wonder if it’s intentional, regardless I have COVID but won’t die from it, most likely.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The weird thing about losing your sense of smell is that complex flavors like aged triple cream cheese condense to salty and my favorite apple, the pink lady, loses its tartness and becomes only sweet.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Like 80% dark chocolate, there’s a bitter truth about living through hardships your loved ones couldn’t survive but right now that truth only tastes sweet.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912009\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg\" alt=\"\" width=\"600\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT-160x200.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Kevin Madrigal. \u003ccite>(Kelsey Krach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What specific experience inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Kevin Madrigal Galindo: I caught COVID in October of 2021 while living at home with my parents (I’m vaccinated, they are too, and we are all okay, thankfully). I’ve been working as a chef & nutrition educator in some capacity for the past nine years, so when I came down with symptoms and ended up losing my sense of smell, it really messed with me. A year before, in September of 2020, my tío Jose died from COVID. I had started off 2020 living with him and his family in Guadalajara, until I eventually returned home after news of the pandemic. I wrote this piece while I was in isolation, just eating food because I had to. I couldn’t help but think about my tío, the stark differences of our COVID experiences, and the family he left behind.\u003c/p>\n\u003cp>\u003cstrong>Personally, I struggled with finding the language and energy to express my own experience with COVID. How did you manage to do so, and how did it feel to get it off your chest?\u003c/strong>\u003c/p>\n\u003cp>Since I began writing, poetry has served both as an outlet for expression and a sort of personal therapeutic practice. I felt like I had to write about what I was feeling in order to really process what was going on. When I do sit with this piece, though, I always feel a sense of guilt, connected with all the people that I know (even just within my own family) that have died from COVID. I don’t know if that guilt will ever go away, but I think it’s necessary to carry it along with the memories of my ancestors.\u003c/p>\n\u003cp>\u003cstrong>Why do you write?\u003c/strong>\u003c/p>\n\u003cp>I think Josiah Luis Alderete said it best: “Black and brown poets, we’re historians. Art for a lot of us is about survival. Survival is history, memoria.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Keep up with Kevin Madrigal’s activities \u003ca href=\"https://linktr.ee/kmadirl\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> or \u003ca href=\"https://www.instagram.com/kmadrigal/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>; his debut chapbook ‘Hell/a Mexican’ can be found at \u003ca href=\"https://medicinefornightmares.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Medicine for Nightmares\u003c/a> in San Francisco, or online at \u003ca href=\"https://www.nomadicpress.org/store/p/hellamexican\" target=\"_blank\" rel=\"noopener noreferrer\">Nomadic Press\u003c/a>.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg\" alt=\"Kevin Madrigal wears a blue and white collared shirt as he looks into the camera for a portrait photo.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/KevinMadrigal.MAIN_.jpg 1322w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Kevin Madrigal. \u003ccite>(Syd Yatco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Bittersweet’ by Kevin Madrigal Galindo\u003c/h2>\n\u003cp>\u003cem>Losing my sense of smell made me realize all food tastes the same and what are we at the end of the day if not the stories & memories associated with scents of the past.\u003c/em>\u003c/p>\n\u003cp>\u003cem>What I mean to say is COVID made me inhuman & contagious and I have never wanted to dissociate my mind from my body more than the sore throat, body aches, and isolation I was rewarded with for being reckless.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The first person to call and check in was my primo Luis in Guadalajara, whose father died from COVID and I can’t help but notice that he sounds more like my memory of his father. I wonder if it’s intentional, regardless I have COVID but won’t die from it, most likely.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The weird thing about losing your sense of smell is that complex flavors like aged triple cream cheese condense to salty and my favorite apple, the pink lady, loses its tartness and becomes only sweet.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Like 80% dark chocolate, there’s a bitter truth about living through hardships your loved ones couldn’t survive but right now that truth only tastes sweet.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912009\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg\" alt=\"\" width=\"600\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Kevin-Madrigal-TBT-160x200.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">A throwback photo of Kevin Madrigal. \u003ccite>(Kelsey Krach)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What specific experience inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Kevin Madrigal Galindo: I caught COVID in October of 2021 while living at home with my parents (I’m vaccinated, they are too, and we are all okay, thankfully). I’ve been working as a chef & nutrition educator in some capacity for the past nine years, so when I came down with symptoms and ended up losing my sense of smell, it really messed with me. A year before, in September of 2020, my tío Jose died from COVID. I had started off 2020 living with him and his family in Guadalajara, until I eventually returned home after news of the pandemic. I wrote this piece while I was in isolation, just eating food because I had to. I couldn’t help but think about my tío, the stark differences of our COVID experiences, and the family he left behind.\u003c/p>\n\u003cp>\u003cstrong>Personally, I struggled with finding the language and energy to express my own experience with COVID. How did you manage to do so, and how did it feel to get it off your chest?\u003c/strong>\u003c/p>\n\u003cp>Since I began writing, poetry has served both as an outlet for expression and a sort of personal therapeutic practice. I felt like I had to write about what I was feeling in order to really process what was going on. When I do sit with this piece, though, I always feel a sense of guilt, connected with all the people that I know (even just within my own family) that have died from COVID. I don’t know if that guilt will ever go away, but I think it’s necessary to carry it along with the memories of my ancestors.\u003c/p>\n\u003cp>\u003cstrong>Why do you write?\u003c/strong>\u003c/p>\n\u003cp>I think Josiah Luis Alderete said it best: “Black and brown poets, we’re historians. Art for a lot of us is about survival. Survival is history, memoria.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Keep up with Kevin Madrigal’s activities \u003ca href=\"https://linktr.ee/kmadirl\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a> or \u003ca href=\"https://www.instagram.com/kmadrigal/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a>; his debut chapbook ‘Hell/a Mexican’ can be found at \u003ca href=\"https://medicinefornightmares.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Medicine for Nightmares\u003c/a> in San Francisco, or online at \u003ca href=\"https://www.nomadicpress.org/store/p/hellamexican\" target=\"_blank\" rel=\"noopener noreferrer\">Nomadic Press\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Emilio Delgado, the Mexican American actor who played the character Luis on \u003cem>Sesame Street\u003c/em> for 40 years, died Thursday at his home in New York City after a battle with blood cancer. Delgado was 81.\u003c/p>\n\u003cp>Delgado died surrounded by family, according to his wife Carol, who spoke with \u003ca href=\"https://www.tmz.com/2022/03/10/sesame-street-actor-emilio-delgado-luis-dead-dies/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>. Delago had been diagnosed with multiple myeloma in December 2020, and recently was in hospice care. \u003c/p>\n\u003cp>[aside postID='arts_11867386']Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \u003c/p>\n\u003cp>https://youtu.be/QxOft5QZjDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n",
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"link": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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