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"content": "\u003cfigure id=\"attachment_13896078\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13896078\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/AlYoung_0.jpg\" alt=\"Al Young.\" width=\"400\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Al Young. \u003ccite>(Joseph Robinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Celebrated poet and former California Poet Laureate Al Young has passed away at the age of 81, according to \u003ca href=\"https://bookhaven.stanford.edu/2021/04/al-young-is-dead-at-81/\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> from Stanford University. Young, known for his passion for jazz and his warm and friendly presence, lectured at the college for many years, and in 2005 was appointed the Poet Laureate of California by then-Governor Arnold Schwarznegger.\u003c/p>\n\u003cp>“Al Young represented the best in literary life. He was enormously talented in both fiction and poetry, though as he got older poetry came to be his natural means of expression,” Dana Gioia, the 2015–2019 California Poet Laureate, told \u003ca href=\"https://bookhaven.stanford.edu/2021/04/al-young-is-dead-at-81/\" target=\"_blank\" rel=\"noopener noreferrer\">The Book Haven\u003c/a>. “He was one of the most gracious writers I ever met… Not many writers have a gift for public service. The role came naturally for Al.”\u003c/p>\n\u003cp>Young was born in Ocean Springs, Miss., and raised in Detroit and throughout the rural South. He attended the University of Michigan before moving to the Bay Area in 1961 and graduating from U.C. Berkeley.\u003c/p>\n\u003cp>Young later taught poetry, American literature and fiction writing at U.C. Berkeley, U.C. Santa Cruz, and U.C. Davis, as well as Foothill College, Bowling Green State University, Rice University, the Colorado College, the University of Michigan, the University of Washington, and the University of Arkansas. Young became a lecturer in creative writing at Stanford University in 1969, and went on to live and work in Palo Alto for three decades.\u003c/p>\n\u003cp>In 2012, Young pitched KQED on the idea of airing a monthly poem on \u003cem>\u003ca href=\"https://www.kqed.org/news/7174/al-youngs-poem-of-the-month-says-goodbye-to-2012\" target=\"_blank\" rel=\"noopener noreferrer\">The California Report Magazine\u003c/a>\u003c/em>. For each month of the year, he wrote, recited and recorded a poem, often referencing California towns, figures and history, along with personal reflections.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was such a joy to work with Al on the poetry series for The California Report Magazine. He was just so warm and funny and absolute joy to work with,” said KQED Bay Curious producer Suzie Racho. “He was a poet whose voice was made for radio. Oftentimes he’d do two takes in the studio before heading backing to BART.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Young received two American Book Awards in 1982 and 2002, as well as Guggenheim, Fulbright, and Wallace Stegner fellowships, the Pushcart Prize, and others.\u003c/p>\n\n",
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"title": "For a Young Girl in the Bay Area, DMX Made Sense of Life's Emotional Complexities",
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"content": "\u003cp>When I was twelve years old, I’d ride BART each week to \u003ca href=\"https://mccatheater.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Arts Center\u003c/a> in Oakland to attend hip-hop dance class. There, one of the first dance routines I learned was set to DMX’s “\u003ca href=\"https://www.youtube.com/watch?v=ThlhSnRk21E\" rel=\"noopener noreferrer\" target=\"_blank\">Ruff Ryders Anthem\u003c/a>.” \u003c/p>\n\u003cp>Can you imagine a room full of pre-teen Black girls, giving their heart and soul to movement, while DMX’s voice rings out with passion over Swizz Beatz’s siren-like production? To this day, it’s one of the most exhilarating dance performances I’ve ever done. We didn’t really know what the song was about, but we felt the urgency in DMX’s voice, and it made us feel alive. Like we could dance forever.\u003c/p>\n\u003cp>[aside postID='arts_13895484']This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4AognXgM9FQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9Ww-TQUeA3E\u003c/p>\n\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was twelve years old, I’d ride BART each week to \u003ca href=\"https://mccatheater.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Alice Arts Center\u003c/a> in Oakland to attend hip-hop dance class. There, one of the first dance routines I learned was set to DMX’s “\u003ca href=\"https://www.youtube.com/watch?v=ThlhSnRk21E\" rel=\"noopener noreferrer\" target=\"_blank\">Ruff Ryders Anthem\u003c/a>.” \u003c/p>\n\u003cp>Can you imagine a room full of pre-teen Black girls, giving their heart and soul to movement, while DMX’s voice rings out with passion over Swizz Beatz’s siren-like production? To this day, it’s one of the most exhilarating dance performances I’ve ever done. We didn’t really know what the song was about, but we felt the urgency in DMX’s voice, and it made us feel alive. Like we could dance forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was around 1998. I was in junior high school. I was confused and curious about life, often lonely, and unsure of who or what I wanted to be. Music, books, poetry, and dancing spoke to me in ways that I didn’t quite understand. They just made me feel alive. DMX’s music was playing at the first house party I attended in Hayward, as my female friends grinded against boys, sweat slipped off arms, and daisy duke shorts and jersey tops clung to bodies. “Party Up” blasted from the speakers and we \u003ca href=\"https://www.youtube.com/watch?v=thIVtEOtlWM\" rel=\"noopener noreferrer\" target=\"_blank\">lost our minds\u003c/a>, literally, on the dance floor.\u003c/p>\n\u003cp>In junior high and high school, we were all trying to make sense of new feelings, new changes in our bodies, and DMX’s music was a welcome exploration of the warring sides of humanity—the striving for a better way, the fun fearlessness, the demons that haunt our movement, and the pain that \u003ca href=\"https://www.youtube.com/watch?v=arJy3T65l6A\" rel=\"noopener noreferrer\" target=\"_blank\">propels us to flight\u003c/a>. Surely, at our young ages, we hadn’t experienced the extreme highs and lows that DMX did, but we were pulled into his honest, emotional delivery, and felt it deeply. At a time when I was coming into my own understanding of being an artist, to be a witness to his artistry was a gift. \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/4AognXgM9FQ'\n title='//www.youtube.com/embed/4AognXgM9FQ'\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>DMX gave us vivid stories about lives we didn’t live, and became the rapper we all had a crush on. I remember listening to “\u003ca href=\"https://www.youtube.com/watch?v=_NvVyjHUwaU\" rel=\"noopener noreferrer\" target=\"_blank\">How’s It Goin Down\u003c/a>” as a teenager and being swept into a world of lost love. This song unfolded like a movie to me, right down to the specific description: “Coming through, like I do, you know, getting my bark on / Knew she was a thug ‘cause when I met her she had a scarf on / 54-11, size 7 in girls / Babyface, would look like she was 11 with curls / Girlfriend (what!) remember me, from way back, I’m the same cat / With the wave cap, the motherfucker that TNT used to blaze at.” I was \u003cem>sad\u003c/em> that DMX and this woman couldn’t be together. Faith Evans’ soft vocals during the chorus made this sense of yearning palpable and real. \u003c/p>\n\u003cp>Through his music, DMX made it okay to own our emotions, to wrestle with them, to feel, and to heal, openly, without fear of shame or judgement. He was vulnerable in a way that we were taught not to be, and that’s where he connected with so many. I saw my black and brown classmates fighting to hold back tears after being clowned and dissed, after losing or winning physical fights, or coming to school after traumatic home experiences in pain, only to feign happiness, to smile as if things were okay. Black boys were encouraged to adopt a tough masculine persona that erased the texture of their emotions, and the toxicity of that kind of existence only damaged their lives further, as they adopted troubling patterns of exerting dominance over others in unhealthy ways.\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/9Ww-TQUeA3E'\n title='//www.youtube.com/embed/9Ww-TQUeA3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But something in DMX’s music—in his own admissions of pain, trauma, flaws, and joy; in the way he played with pitch and tone in his vocal delivery, the way his voice could go from a low rasp to a heightened hymn; in the way he could carry a whole song—gave us another way to see the complexities and contradictions of life. On “\u003ca href=\"https://www.youtube.com/watch?v=9Ww-TQUeA3E\" rel=\"noopener noreferrer\" target=\"_blank\">Slippin’\u003c/a>,” when he rapped “Damn, was it my fault, somethin’ I did / To make a father leave his first kid at 7 doin’ my first bid?,” I felt the pain of his abandonment, but also a sense of unyielding hope.\u003c/p>\n\u003cp>DMX often \u003ca href=\"https://www.nytimes.com/2012/02/25/arts/music/the-rapper-dmx-performs-at-sobs.html\" rel=\"noopener noreferrer\" target=\"_blank\">prayed onstage\u003c/a>, and when he cried onstage during a prayer, it radiated strength and a kind of transparent, elevated spirituality that most hadn’t achieved yet. He was not interested in hiding, or showing only parts of himself. He was a whole, complete person and artist and this is how we remember him. \u003c/p>\n\u003cp>DMX expanded the emotional depth of his art form. As artists, may we all strive to do the same.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" 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>\u003c/p>\n\u003cp>\u003cem>Nijla Mu’min is an award-winning writer and filmmaker raised in Oakland. Her feature film ‘Jinn’ premiered in 2018, and she has since directed episodes of ‘Insecure’ and ‘Queen Sugar’ for television. Learn more \u003ca href=\"https://www.nijlamumin.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>NEW YORK (AP) — DMX, the raspy-voiced hip-hop artist who produced the songs “Ruff Ryders’ Anthem” and “Party Up (Up in Here)” and who rapped with a trademark delivery that was often paired with growls, barks and “What!” as an ad-lib, has died, according to a statement from his family. He was 50.\u003c/p>\n\u003cp>The Grammy-nominated performer died after suffering “catastrophic cardiac arrest,” according to the hospital in White Plains, New York, where he died. He was rushed there from his home April 2.\u003c/p>\n\u003cp>A statement from relatives said he died “with his family by his side after being placed on life support for the past few days.”\u003c/p>\n\u003cp>The rapper, whose real name is Earl Simmons, had struggled with drug addiction since his teenage years. His lawyer, Murray Richman, had earlier said he could not confirm reports that DMX overdosed.\u003c/p>\n\u003cp>DMX made a splash in rap music in 1998 with his first studio album, “It’s Dark and Hell is Hot,” which debuted No. 1 on the Billboard 200 albums chart. The multiplatinum-selling album was anchored by several hits including “Ruff Ryders’ Anthem,” “Get At Me Dog,” “Stop Being Greedy” and “How It’s Goin’ Down.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>DMX followed up with four straight chart-topping albums including “… And Then There Was X,” “Flesh of My Flesh, Blood of My Blood,” “The Great Depression” and “Grand Champ.” He released seven albums, earned three Grammy nominations and was named favorite rap/hip-hop artist at the 2000 American Music Awards.\u003c/p>\n\u003cp>DMX arrived on the rap scene around the same time as Jay-Z, Ja Rule and others who dominated the charts and emerged as platinum-selling acts. They were all part of rap crews, too: DMX fronted the Ruff Ryders collective, which helped launch the careers of Grammy winners Eve and Swizz Beatz, and relaunch The Lox, formerly signed to Bad Boy Records. Ruff Ryders had success on the charts and on radio with its “Ryde or Die” compilation albums.\u003c/p>\n\u003cp>Along with his musical career, DMX paved his way as an actor. He starred in the 1998 film “Belly” and appeared in 2000’s “Romeo Must Die” with Jet Li and Aaliyah. DMX and Aaliyah teamed up for “Come Back in One Piece” on the film’s soundtrack.\u003c/p>\n\u003cp>The rapper would later open Aaliyah’s tribute music video, “Miss You,” alongside her other friends and collaborators, including Missy Elliott, Lil’ Kim and Queen Latifah, after Aaliyah’s 2001 death in a plane crash at age 22.\u003c/p>\n\u003cp>The rapper also starred in 2001’s “Exit Wounds” with Steven Seagal and 2003’s “Cradle 2 the Grave” with Li.\u003c/p>\n\u003cp>But while DMX made his mark as one of hip-hop’s most recognizable names for his rap artistry and as an actor, the rapper was personally stifled by his legal battles — he was repeatedly arrested and jailed within a decade — and drug addiction. His addiction first took hold at age 14 when smoked a marijuana cigarette that was laced with cocaine.\u003c/p>\n\u003cp>DMX pleaded guilty in 2004 after he posed as an undercover federal agent a nd crashed his SUV through a security gate at New York’s Kennedy Airport. He was arrested in 2008 on drug and animal cruelty charges following an overnight raid on his house in Phoenix. He tried to barricade himself in his bedroom but emerged when a SWAT team entered his home.\u003c/p>\n\u003cp>In 2010, he was sentenced to a year in prison for violating terms of his probation. After he was admitted to rehab numerous times over the next year, he said he had finally beat his drug addiction.\u003c/p>\n\u003cp>First responders helped bring DMX back to life after he was found in a hotel parking lot in New York in 2016. The rapper said he suffered from asthma.\u003c/p>\n\u003cp>A couple years later, DMX was sentenced to a year in prison for tax fraud. Prosecutors said he concocted a multiyear scheme to hide millions of dollars in income from the IRS and get around nearly $2 million in tax liabilities.\u003c/p>\n\u003cp>After his release, DMX planned a 32-date tour to mark the 20th anniversary of “It’s Dark and Hell is Hot.” But the rapper canceled a series of shows to check himself into a rehab facility in 2019. In an Instagram post, his team said he apologized for the canceled shows and thanked his fans for the continued support.\u003c/p>\n\u003cp>Besides his legal troubles, DMX took the initiative to help the less fortunate. He gave a group of Philadelphia men advice during a surprise appearance at a homeless support group meeting in 2017, and helped a Maine family with its back-to-school purchases a couple years later.\u003c/p>\n\u003cp>Last year, DMX faced off against Snoop Dogg in a Verzuz battle, which drew more than 500,000 viewers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his 15 children and mother.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>DMX followed up with four straight chart-topping albums including “… And Then There Was X,” “Flesh of My Flesh, Blood of My Blood,” “The Great Depression” and “Grand Champ.” He released seven albums, earned three Grammy nominations and was named favorite rap/hip-hop artist at the 2000 American Music Awards.\u003c/p>\n\u003cp>DMX arrived on the rap scene around the same time as Jay-Z, Ja Rule and others who dominated the charts and emerged as platinum-selling acts. They were all part of rap crews, too: DMX fronted the Ruff Ryders collective, which helped launch the careers of Grammy winners Eve and Swizz Beatz, and relaunch The Lox, formerly signed to Bad Boy Records. Ruff Ryders had success on the charts and on radio with its “Ryde or Die” compilation albums.\u003c/p>\n\u003cp>Along with his musical career, DMX paved his way as an actor. He starred in the 1998 film “Belly” and appeared in 2000’s “Romeo Must Die” with Jet Li and Aaliyah. DMX and Aaliyah teamed up for “Come Back in One Piece” on the film’s soundtrack.\u003c/p>\n\u003cp>The rapper would later open Aaliyah’s tribute music video, “Miss You,” alongside her other friends and collaborators, including Missy Elliott, Lil’ Kim and Queen Latifah, after Aaliyah’s 2001 death in a plane crash at age 22.\u003c/p>\n\u003cp>The rapper also starred in 2001’s “Exit Wounds” with Steven Seagal and 2003’s “Cradle 2 the Grave” with Li.\u003c/p>\n\u003cp>But while DMX made his mark as one of hip-hop’s most recognizable names for his rap artistry and as an actor, the rapper was personally stifled by his legal battles — he was repeatedly arrested and jailed within a decade — and drug addiction. His addiction first took hold at age 14 when smoked a marijuana cigarette that was laced with cocaine.\u003c/p>\n\u003cp>DMX pleaded guilty in 2004 after he posed as an undercover federal agent a nd crashed his SUV through a security gate at New York’s Kennedy Airport. He was arrested in 2008 on drug and animal cruelty charges following an overnight raid on his house in Phoenix. He tried to barricade himself in his bedroom but emerged when a SWAT team entered his home.\u003c/p>\n\u003cp>In 2010, he was sentenced to a year in prison for violating terms of his probation. After he was admitted to rehab numerous times over the next year, he said he had finally beat his drug addiction.\u003c/p>\n\u003cp>First responders helped bring DMX back to life after he was found in a hotel parking lot in New York in 2016. The rapper said he suffered from asthma.\u003c/p>\n\u003cp>A couple years later, DMX was sentenced to a year in prison for tax fraud. Prosecutors said he concocted a multiyear scheme to hide millions of dollars in income from the IRS and get around nearly $2 million in tax liabilities.\u003c/p>\n\u003cp>After his release, DMX planned a 32-date tour to mark the 20th anniversary of “It’s Dark and Hell is Hot.” But the rapper canceled a series of shows to check himself into a rehab facility in 2019. In an Instagram post, his team said he apologized for the canceled shows and thanked his fans for the continued support.\u003c/p>\n\u003cp>Besides his legal troubles, DMX took the initiative to help the less fortunate. He gave a group of Philadelphia men advice during a surprise appearance at a homeless support group meeting in 2017, and helped a Maine family with its back-to-school purchases a couple years later.\u003c/p>\n\u003cp>Last year, DMX faced off against Snoop Dogg in a Verzuz battle, which drew more than 500,000 viewers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He is survived by his 15 children and mother.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13894745\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg\" alt=\"Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse).\" width=\"640\" height=\"987\" class=\"size-large wp-image-13894745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-768x1184.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707.jpg 1328w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse). \u003ccite>(Terry Smith/Time)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Children’s author Beverly Cleary died Thursday in Carmel, Calif. She was 104 years old. Cleary was the creator of some of the most authentic characters in children’s literature — Henry Huggins, Ralph S. Mouse and the irascible Ramona Quimby.\u003c/p>\n\u003cp>Generations of readers tore around the playground, learned to write in cursive, rebelled against tuna fish sandwiches, and acquired all the glorious scrapes and bruises of childhood right along with Ramona.\u003c/p>\n\u003cp>Cleary’s simple idea — to write about the kids in her own neighborhood — ensured that her books have never gone out of print.\u003c/p>\n\u003cp>“I think children want to read about normal, everyday kids. That’s what I wanted to read about when I was growing up,” Cleary told NPR’s Linda Wertheimer in 1999. “I wanted to read about the sort of boys and girls that I knew in my neighborhood and in my school. And in my childhood, many years ago, children’s books seemed to be about English children, or pioneer children. And that wasn’t what I wanted to read. And I think children like to find themselves in books.”\u003c/p>\n\u003cp>Her writing style — clear, direct, uncomplicated — mirrored the author’s own trajectory. Cleary was still a young girl when she decided to become a children’s book author. By the 1940s she’d become a children’s librarian in Portland, Ore., and she remembers boys in particular would ask her: “Where are the books about kids like us?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There weren’t any, so she sat down and wrote \u003ca href=\"http://www.npr.org/books/titles/311886766/henry-huggins\">Henry Huggins,\u003c/a> her first book about a regular little boy on Klickitat Street in Portland.\u003cem> Henry Huggins \u003c/em>was a hit upon first printing, but her readers wanted to hear more about the little girl who lived just up the street.\u003c/p>\n\u003cp>Ramona Quimby, the most famous of all of Cleary’s characters, was unforgettable. Mischievous, spunky and a hater of spelling, Ramona would be the first to tell you \u003ca href=\"http://www.npr.org/books/titles/311886444/ramona-the-pest\">she’s \u003cem>not\u003c/em> a pest\u003c/a> — no matter what anyone (especially her older sister Beezus) says. In the opening chapter of \u003cem>Ramona the Pest\u003c/em>, Ramona responds to her big sister:\u003c/p>\n\u003cblockquote>\n\u003cp>“I’m not acting like a pest, I’m singing and skipping,” said Ramona, who had only recently learned to skip with both feet. Ramona did not think she was a pest. No matter what others said, she never thought she was a pest. People who called her a pest were always bigger, so they could be unfair.\u003c/p>\n\u003c/blockquote>\n\u003cp>Cleary’s memories are cinematically detailed. In her autobiography \u003ca href=\"http://www.npr.org/books/titles/311887530/a-girl-from-yamhill-a-memoir\">A Girl From Yamhill\u003c/a>, she writes about clamping around on tin can stilts and yelling “pieface!” at the neighbor. She was an only child, who grew up in Portland during the Depression and still remembers when her father lost his job.\u003c/p>\n\u003cp>“I was embarrassed” she recalled. “I didn’t know how to talk to my father. I know he felt so terrible at that time that I just — I guess I felt equally terrible. And I think adults sometimes don’t think about how children are feeling about the adult problems.”\u003c/p>\n\u003cp>Cleary used her crystal clear recall to capture the tribulations of young children exquisitely in her books. “I’m just lucky. I do have very clear memories of childhood,” Cleary said. “I find that many people don’t, but I’m just very fortunate.”\u003c/p>\n\u003cp>Barbara Lalicki, who edited the 1999 Ramona book, \u003cem>Ramona’s World, \u003c/em>says Cleary steered the entire field of children’s writing away from fantasy and historical fiction. She was a “pioneer,” Lalicki says, in this “rooted-in-reality kind of book for children.”\u003c/p>\n\u003cp>Cleary’s books racked up awards, and were constantly reprinted and re-illustrated. Librarians kept shelves devoted entirely to Cleary’s books, and teachers read the books aloud to their students.\u003c/p>\n\u003cp>For about 30 years — despite objections from publishers who wanted her focus on writing more books — Cleary answered all of her fan mail herself. “I learned a lot from children’s letters,” Cleary said. “\u003ca href=\"http://www.npr.org/books/titles/311887036/dear-mr-henshaw\">Dear Mr. Henshaw\u003c/a> came about because two different boys from different parts of the country asked me to write a book about a boy whose parents were divorced. And so I wrote \u003cem>Dear Mr. Henshaw\u003c/em>, and it won the Newbery.”\u003c/p>\n\u003cp>Longtime children’s librarian Nancy Pearl remembers hearing “a wonderful, possibly apocryphal story” about Cleary going to speak to a class of second or third graders: “This little boy kept raising his hand, he had so much to ask her, and he said to her, ‘Mrs. Cleary, I understand how you write your books. … But where do you get your paper?’ … I think that’s how involved kids get in those books.”\u003c/p>\n\u003cp>Even with all the modern day distractions — videogames, music, movies and more — Cleary believed kids would keep on reading. “I don’t think anything takes the place of reading,” Cleary said in 2006. In one letter, a little girl said that reading in her room by herself was “like having a little television set in your head.”\u003c/p>\n\u003cp>Decades after they were written, Cleary’s books still ring true for children. “I think deep down inside children are all the same,” she said. “They want two loving parents and they would prefer a house with a neighborhood they can play in. They want teachers that they can like. I don’t think children have changed that much. It’s the world that has changed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Beverly Cleary, with her honest, straight-talking heroes and heroines, certainly changed it for the better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Beverly+Cleary%2C+Creator+Of+Ramona+Quimby%2C+Dies+At+104&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13894745\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg\" alt=\"Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse).\" width=\"640\" height=\"987\" class=\"size-large wp-image-13894745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-1020x1573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-768x1184.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707-996x1536.jpg 996w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/beverly-clearly_enl-91a4e4480b7fac30d952a96efeae60fa1edf2707.jpg 1328w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beverly Cleary is the author behind many beloved characters, including Henry Huggins, Ellen Tebbits, Otis Spofford, and Beezus and Ramona Quimby (as well as Ribsy, Socks and Ralph S. Mouse). \u003ccite>(Terry Smith/Time)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Children’s author Beverly Cleary died Thursday in Carmel, Calif. She was 104 years old. Cleary was the creator of some of the most authentic characters in children’s literature — Henry Huggins, Ralph S. Mouse and the irascible Ramona Quimby.\u003c/p>\n\u003cp>Generations of readers tore around the playground, learned to write in cursive, rebelled against tuna fish sandwiches, and acquired all the glorious scrapes and bruises of childhood right along with Ramona.\u003c/p>\n\u003cp>Cleary’s simple idea — to write about the kids in her own neighborhood — ensured that her books have never gone out of print.\u003c/p>\n\u003cp>“I think children want to read about normal, everyday kids. That’s what I wanted to read about when I was growing up,” Cleary told NPR’s Linda Wertheimer in 1999. “I wanted to read about the sort of boys and girls that I knew in my neighborhood and in my school. And in my childhood, many years ago, children’s books seemed to be about English children, or pioneer children. And that wasn’t what I wanted to read. And I think children like to find themselves in books.”\u003c/p>\n\u003cp>Her writing style — clear, direct, uncomplicated — mirrored the author’s own trajectory. Cleary was still a young girl when she decided to become a children’s book author. By the 1940s she’d become a children’s librarian in Portland, Ore., and she remembers boys in particular would ask her: “Where are the books about kids like us?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There weren’t any, so she sat down and wrote \u003ca href=\"http://www.npr.org/books/titles/311886766/henry-huggins\">Henry Huggins,\u003c/a> her first book about a regular little boy on Klickitat Street in Portland.\u003cem> Henry Huggins \u003c/em>was a hit upon first printing, but her readers wanted to hear more about the little girl who lived just up the street.\u003c/p>\n\u003cp>Ramona Quimby, the most famous of all of Cleary’s characters, was unforgettable. Mischievous, spunky and a hater of spelling, Ramona would be the first to tell you \u003ca href=\"http://www.npr.org/books/titles/311886444/ramona-the-pest\">she’s \u003cem>not\u003c/em> a pest\u003c/a> — no matter what anyone (especially her older sister Beezus) says. In the opening chapter of \u003cem>Ramona the Pest\u003c/em>, Ramona responds to her big sister:\u003c/p>\n\u003cblockquote>\n\u003cp>“I’m not acting like a pest, I’m singing and skipping,” said Ramona, who had only recently learned to skip with both feet. Ramona did not think she was a pest. No matter what others said, she never thought she was a pest. People who called her a pest were always bigger, so they could be unfair.\u003c/p>\n\u003c/blockquote>\n\u003cp>Cleary’s memories are cinematically detailed. In her autobiography \u003ca href=\"http://www.npr.org/books/titles/311887530/a-girl-from-yamhill-a-memoir\">A Girl From Yamhill\u003c/a>, she writes about clamping around on tin can stilts and yelling “pieface!” at the neighbor. She was an only child, who grew up in Portland during the Depression and still remembers when her father lost his job.\u003c/p>\n\u003cp>“I was embarrassed” she recalled. “I didn’t know how to talk to my father. I know he felt so terrible at that time that I just — I guess I felt equally terrible. And I think adults sometimes don’t think about how children are feeling about the adult problems.”\u003c/p>\n\u003cp>Cleary used her crystal clear recall to capture the tribulations of young children exquisitely in her books. “I’m just lucky. I do have very clear memories of childhood,” Cleary said. “I find that many people don’t, but I’m just very fortunate.”\u003c/p>\n\u003cp>Barbara Lalicki, who edited the 1999 Ramona book, \u003cem>Ramona’s World, \u003c/em>says Cleary steered the entire field of children’s writing away from fantasy and historical fiction. She was a “pioneer,” Lalicki says, in this “rooted-in-reality kind of book for children.”\u003c/p>\n\u003cp>Cleary’s books racked up awards, and were constantly reprinted and re-illustrated. Librarians kept shelves devoted entirely to Cleary’s books, and teachers read the books aloud to their students.\u003c/p>\n\u003cp>For about 30 years — despite objections from publishers who wanted her focus on writing more books — Cleary answered all of her fan mail herself. “I learned a lot from children’s letters,” Cleary said. “\u003ca href=\"http://www.npr.org/books/titles/311887036/dear-mr-henshaw\">Dear Mr. Henshaw\u003c/a> came about because two different boys from different parts of the country asked me to write a book about a boy whose parents were divorced. And so I wrote \u003cem>Dear Mr. Henshaw\u003c/em>, and it won the Newbery.”\u003c/p>\n\u003cp>Longtime children’s librarian Nancy Pearl remembers hearing “a wonderful, possibly apocryphal story” about Cleary going to speak to a class of second or third graders: “This little boy kept raising his hand, he had so much to ask her, and he said to her, ‘Mrs. Cleary, I understand how you write your books. … But where do you get your paper?’ … I think that’s how involved kids get in those books.”\u003c/p>\n\u003cp>Even with all the modern day distractions — videogames, music, movies and more — Cleary believed kids would keep on reading. “I don’t think anything takes the place of reading,” Cleary said in 2006. In one letter, a little girl said that reading in her room by herself was “like having a little television set in your head.”\u003c/p>\n\u003cp>Decades after they were written, Cleary’s books still ring true for children. “I think deep down inside children are all the same,” she said. “They want two loving parents and they would prefer a house with a neighborhood they can play in. They want teachers that they can like. I don’t think children have changed that much. It’s the world that has changed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Beverly Cleary, with her honest, straight-talking heroes and heroines, certainly changed it for the better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Beverly+Cleary%2C+Creator+Of+Ramona+Quimby%2C+Dies+At+104&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Arrested Development’ Actor Jessica Walter Dies at 80",
"headTitle": "‘Arrested Development’ Actor Jessica Walter Dies at 80 | KQED",
"content": "\u003cp>Jessica Walter, who played a \u003ca href=\"https://www.youtube.com/watch?v=0EW_tlvW4aI&t=3s\" target=\"_blank\" rel=\"noopener noreferrer\">scheming matriarch\u003c/a> in TV’s \u003ca href=\"https://www.imdb.com/title/tt0367279/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Arrested Development\u003c/em>\u003c/a>, has died. She was 80.\u003c/p>\n\u003cp>Walter’s death was confirmed Thursday by her daughter, Brooke Bowman.\u003c/p>\n\u003cp>The actor’s best-known film roles included playing the stalker in Clint Eastwood’s 1971 thriller, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0067588/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Play Misty for Me\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Walter’s daughter said the actor will be remembered for her work and for her wit, class and love of life.\u003c/p>\n\u003cp>Walter’s feature debut was in the 1964 film \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0058294/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Lilith\u003c/a>\u003c/em>, with Warren Beatty, Jean Seberg and Gene Hackman, who was also on his first film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She also snagged a role in John Frankenheimer’s racing epic \u003ca href=\"https://www.imdb.com/title/tt0060472/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grand Prix\u003c/em>\u003c/a>, from 1966, as the glamorous but discontented wife of a Formula One racer who falls for another driver. That same year she appeared in Sidney Lumet’s \u003ca href=\"https://www.imdb.com/title/tt0060479/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Group\u003c/em>\u003c/a>, a female-led ensemble about the graduates of a prestigious university (Walter played the catty Libby), and acted for Lumet again in 1968’s \u003ca href=\"https://www.imdb.com/title/tt0062768/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bye Bye Braverman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 The Associated Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jessica Walter, who played a \u003ca href=\"https://www.youtube.com/watch?v=0EW_tlvW4aI&t=3s\" target=\"_blank\" rel=\"noopener noreferrer\">scheming matriarch\u003c/a> in TV’s \u003ca href=\"https://www.imdb.com/title/tt0367279/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Arrested Development\u003c/em>\u003c/a>, has died. She was 80.\u003c/p>\n\u003cp>Walter’s death was confirmed Thursday by her daughter, Brooke Bowman.\u003c/p>\n\u003cp>The actor’s best-known film roles included playing the stalker in Clint Eastwood’s 1971 thriller, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0067588/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">Play Misty for Me\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>Walter’s daughter said the actor will be remembered for her work and for her wit, class and love of life.\u003c/p>\n\u003cp>Walter’s feature debut was in the 1964 film \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0058294/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">Lilith\u003c/a>\u003c/em>, with Warren Beatty, Jean Seberg and Gene Hackman, who was also on his first film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She also snagged a role in John Frankenheimer’s racing epic \u003ca href=\"https://www.imdb.com/title/tt0060472/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Grand Prix\u003c/em>\u003c/a>, from 1966, as the glamorous but discontented wife of a Formula One racer who falls for another driver. That same year she appeared in Sidney Lumet’s \u003ca href=\"https://www.imdb.com/title/tt0060479/?ref_=fn_al_tt_2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Group\u003c/em>\u003c/a>, a female-led ensemble about the graduates of a prestigious university (Walter played the catty Libby), and acted for Lumet again in 1968’s \u003ca href=\"https://www.imdb.com/title/tt0062768/?ref_=nv_sr_srsg_0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bye Bye Braverman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 The Associated Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
"headTitle": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
"content": "\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A group of about 50 people gathered Tuesday night to pay tribute to the legendary poet and publisher.",
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"title": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books | KQED",
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"headline": "PHOTOS: Lawrence Ferlinghetti Sidewalk Memorial at City Lights Books",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Feb. 23, a group of about 50 people gathered outside City Lights Books in San Francisco at an impromptu memorial for Lawrence Ferlinghetti, who \u003ca href=\"https://www.kqed.org/arts/13893125/lawrence-ferlinghetti-beat-poet-and-small-press-publisher-dies-at-101\" rel=\"noopener noreferrer\" target=\"_blank\">died on Monday\u003c/a> at age 101. \u003c/p>\n\u003cp>The crowd ranged from those close to Ferlinghetti—like Jack Hirschman, one of the famed poet and publisher’s oldest friends—to readers touched by his work. But all shared the impulse to gather and pay tribute to the City Lights founder in Jack Kerouac Alley—outside the bookstore where Ferlinghetti made his home, in the neighborhood and city that he loved.\u003c/p>\n\u003cp>While readings, anecdotes and testimonials to Ferlinghetti’s \u003ca href=\"https://www.kqed.org/news/10447892/at-95-lawrence-ferlinghetti-recounts-more-than-six-decades-of-life-in-san-francisco\" rel=\"noopener noreferrer\" target=\"_blank\">indomitable spirit\u003c/a> filled the sidewalk and alley, KQED photographer Beth LaBerge captured the scene in photos.\u003c/p>\n\u003cfigure id=\"attachment_13893247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Agneta Falk reads a poem while Jack Hirschman listens during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/035_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agneta Falk reads a poem during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/055_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/066_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1465w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby Coleman speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/072_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman lights a candle at a memorial for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/036_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd of people listen to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893234\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/060_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Monk speaks during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/049_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893243\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/046_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil and poetry reading is held outside of City Lights Books in San Francisco for its founder Lawrence Ferlinghetti on Tuesday Feb. 23, 2021, who died on Monday at the age of 101. Friends and fellow poets shared remembrances, read his work and raised their glasses. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/056_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott Bird (right) during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Poet Charlie Getter reads from Lawrence Ferlinghetti's book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/026_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Charlie Getter reads from Lawrence Ferlinghetti’s book Coney Island of the Mind during a vigil outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/068_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bottles of beer are raised in the air during a cheers for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/051_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends and fellow poets share remembrances and read poems during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/004_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photos of Lawrence Ferlinghetti and his bowler hat in the City Lights Poetry Room on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893237\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg\" alt=\"Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021.\" width=\"600\" height=\"900\" class=\"size-medium wp-image-13893237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/054_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1280w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Leilani Chun listens to speakers during a vigil for Lawrence Ferlinghetti outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/021_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Deborah Drozd writes on a typewriter during a vigil for Lawrence Ferlinghetti at City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/011_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee at the memorial points to a photo of Ferlinghetti in a poetry book outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13893242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg\" alt=\"Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13893242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/047_SanFrancisco_LawrenceFerllinghettiMemorial_02232021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Flowers, candles and photos of Lawrence Ferlinghetti are left outside of City Lights Books on Feb. 23, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Chick Corea, Jazz Fusion Pioneer, Dies of Cancer At 79",
"headTitle": "Chick Corea, Jazz Fusion Pioneer, Dies of Cancer At 79 | KQED",
"content": "\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And to my amazing musician friends who have been like family to me as long as I’ve known you: It has been a blessing and an honor learning from and playing with all of you. My mission has always been to bring the joy of creating anywhere I could, and to have done so with all the artists that I admire so dearly — this has been the richness of my life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/15IHNYq6stw\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Chick+Corea%2C+Jazz+Fusion+Pioneer%2C+Has+Died+Of+Cancer+At+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The keyboardist, composer and bandleader Chick Corea — one of the most revered figures in contemporary jazz, but whose work spanned fusion to classical — died on Feb. 9 at age 79. \u003c/p>\n\u003cp>Dan Muse from Chick Corea Productions confirmed his death to NPR on Thursday afternoon. Corea’s team also reported his death on \u003ca href=\"https://www.facebook.com/chickcorea/posts/10158422599898924\">social media\u003c/a>, saying that he died from “a rare form of cancer which was only discovered very recently.” No other details about his illness and death were shared.\u003c/p>\n\u003cp>Always curious, Corea created work that limned many musical currents. Born June 12, 1941, in Chelsea, Mass., he grew up playing piano and drums and listening to bebop, as well as classical music. After moving to New York as a young man, he played with Cuban percussionist Mongo Santamaria and played with Miles Davis at the dawn of jazz fusion — performing on electric piano on such albums as \u003cem>In a Silent Way\u003c/em>, \u003cem>Bitches Brew\u003c/em> and \u003cem>Miles Davis at the Fillmore\u003c/em>. His own band Return to Forever (with Stanley Clarke on bass, vocalist Flora Purim, drummer Airto Moreira and reeds player Joe Farrell) was an important marker for fusion music.\u003c/p>\n\u003cp>As well as being named a \u003ca href=\"https://www.arts.gov/honors/jazz/chick-corea\">Jazz Master\u003c/a> by the National Endowment for the Arts in 2006, Corea won \u003ca href=\"https://www.grammy.com/grammys/artists/chick-corea/9341\">23 Grammys\u003c/a> (as well as being nominated 67 times). In 2018, he told \u003ca href=\"https://www.npr.org/2018/10/31/662519569/chick-corea-back-in-boston\">\u003cem>Jazz Night in America\u003c/em>\u003c/a> about what he believed his role as an artist was: “We have a mission to go out there and be an antidote to war, and all of the dark side of what happens on Planet Earth. We’re the ones that go in and remind people about their creativity.”\u003c/p>\n\u003cp>The social media announcement of his death included words from Corea himself: “I want to thank all of those along my journey who have helped keep the music fires burning bright. It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It’s not only that the world needs more artists, it’s also just a lot of fun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Christopher Plummer, Star of Stage, Screen, 'Sound of Music,' Dies at 91",
"headTitle": "Christopher Plummer, Star of Stage, Screen, ‘Sound of Music,’ Dies at 91 | KQED",
"content": "\u003cp>In 2012, when he was already well into his 80s, Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR\u003c/a> that he was busier than he had been in a long time—and that was okay with him. “You never stop learning how to act, both on screen and on the stage,” he said. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>The Oscar, Emmy and Tony Award-winning actor died Friday at his home in Connecticut. He was 91.\u003c/p>\n\u003cp>Plummer was ironically best known for playing Captain von Trapp in the wildly successful \u003cem>The Sound of Music\u003c/em>—a movie he didn’t much like. “It is not my favorite film, of course, because I do think it borders on mawkishness, but we did our damn best not to make it too mawkish,” he \u003ca href=\"https://www.npr.org/transcripts/96373876\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> \u003cem>Fresh Air\u003c/em> in 2007.\u003c/p>\n\u003cfigure id=\"attachment_13892300\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-180258062_custom-28955198f62ce786c0feb192a3572ec1357b599f.jpg\" alt=\"The cast of 'The Sound of Music.'\" width=\"200\" height=\"159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-180258062_custom-28955198f62ce786c0feb192a3572ec1357b599f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-180258062_custom-28955198f62ce786c0feb192a3572ec1357b599f-160x127.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cast of\u003cbr>‘The Sound of Music.’\u003c/figcaption>\u003c/figure>\n\u003cp>Plummer was “quite peeved,” explains NYU theater professor Laurence Maslon, when his voice was dubbed for songs in the film. (You’re actually hearing the voice of Bill Lee on Rodgers and Hammerstein classics such as “Edelweiss.”) “Christopher Plummer was a classically trained actor. He thought, quite rightly, he could do anything,” Maslon says.\u003c/p>\n\u003cp>Plummer told \u003cem>Fresh Air\u003c/em> he was ultimately grateful for the film and its success, though in 2012 when Scott Simon \u003ca href=\"https://www.npr.org/2012/11/24/165806779/the-unsung-overdub-star-in-sound-of-music\" target=\"_blank\" rel=\"noopener noreferrer\">asked him\u003c/a> whether he ever found himself singing “Edelweiss” all these years later, his response was: “Of course not—are you mad?!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Plummer was born in 1929 in Toronto and fell in love with theater in high school. He developed some serious acting chops, playing Shakespearean roles in both Canada and England.\u003c/p>\n\u003cp>“I’m so glad I was Canadian, in a way, because a Canadian can take the best of the British and the best of the American school,” he \u003ca href=\"https://www.npr.org/transcripts/96373876\" target=\"_blank\" rel=\"noopener noreferrer\">said.\u003c/a> “We’re rather good at that—we’re kind of like chameleons in that respect.”\u003c/p>\n\u003cp>He said his relationship with Shakespeare changed over the years. “As you grow older, and you have some experience of life, you see more into the depths of each character,” he \u003ca href=\"https://www.npr.org/transcripts/96373876\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> \u003cem>Fresh Air. \u003c/em>Take \u003cem>King Lear\u003c/em> for instance—”It is so very modern in its dysfunctional family and all of the trappings of power that are disappearing from them—is so modern, it’s so human. You need to be much older to understand the depths of a part like that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13892301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-800x1202.jpg\" alt=\"Christopher Plummer as Sherlock Holmes in 1978.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1920x2885.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Plummer as Sherlock Holmes in 1978. \u003ccite>(Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For most of his more than 60-year career, Plummer split his time appearing both on stage and in films—among his movies were \u003cem>Stage Struck\u003c/em> and \u003cem>The Man Who Would Be King\u003c/em>. He even played a Klingon general in \u003cem>Star Trek VI: The Undiscovered Country\u003c/em>.\u003c/p>\n\u003cp>Onstage, he played Iago to James Earl Jones’ Othello. He played Cyrano de Bergerac in a musical version of the Edmond Rostand play, for which he won a Tony Award … using his \u003cem>own\u003c/em> voice.\u003c/p>\n\u003cp>“His characters were so big,” Maslon says. “He filled them with so much verve and talent.”\u003c/p>\n\u003cp>Plummer’s film career flowered as he got older. He says playing Mike Wallace in \u003cem>The Insider\u003c/em> was a turning point—the scripts got more “intelligent” he said, an “A level rather than a B plus.” He was cast in plummy character roles, including J. Paul Getty in \u003cem>All the Money in the World\u003c/em>, and a father who comes out as gay at the age of 75 in \u003cem>Beginners\u003c/em>—a performance that won him an Oscar.\u003c/p>\n\u003cp>“I adored the part and I thought it was so well written and so unsentimental and brave and witty and free …” Plummer \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a> of playing Hal in \u003cem>Beginners\u003c/em>. “It was tackled with such humanity and sweetness and fun.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer said the characters he played later on in his career were the ones that that interested him: “They’re witty,” he said. “They’ve got a wonderful edge to them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Plummer%2C+Star+Of+Stage%2C+Screen%2C+%27Sound+Of+Music%2C%27+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2012, when he was already well into his 80s, Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\" target=\"_blank\" rel=\"noopener noreferrer\">told NPR\u003c/a> that he was busier than he had been in a long time—and that was okay with him. “You never stop learning how to act, both on screen and on the stage,” he said. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>The Oscar, Emmy and Tony Award-winning actor died Friday at his home in Connecticut. He was 91.\u003c/p>\n\u003cp>Plummer was ironically best known for playing Captain von Trapp in the wildly successful \u003cem>The Sound of Music\u003c/em>—a movie he didn’t much like. “It is not my favorite film, of course, because I do think it borders on mawkishness, but we did our damn best not to make it too mawkish,” he \u003ca href=\"https://www.npr.org/transcripts/96373876\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> \u003cem>Fresh Air\u003c/em> in 2007.\u003c/p>\n\u003cfigure id=\"attachment_13892300\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-180258062_custom-28955198f62ce786c0feb192a3572ec1357b599f.jpg\" alt=\"The cast of 'The Sound of Music.'\" width=\"200\" height=\"159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-180258062_custom-28955198f62ce786c0feb192a3572ec1357b599f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-180258062_custom-28955198f62ce786c0feb192a3572ec1357b599f-160x127.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cast of\u003cbr>‘The Sound of Music.’\u003c/figcaption>\u003c/figure>\n\u003cp>Plummer was “quite peeved,” explains NYU theater professor Laurence Maslon, when his voice was dubbed for songs in the film. (You’re actually hearing the voice of Bill Lee on Rodgers and Hammerstein classics such as “Edelweiss.”) “Christopher Plummer was a classically trained actor. He thought, quite rightly, he could do anything,” Maslon says.\u003c/p>\n\u003cp>Plummer told \u003cem>Fresh Air\u003c/em> he was ultimately grateful for the film and its success, though in 2012 when Scott Simon \u003ca href=\"https://www.npr.org/2012/11/24/165806779/the-unsung-overdub-star-in-sound-of-music\" target=\"_blank\" rel=\"noopener noreferrer\">asked him\u003c/a> whether he ever found himself singing “Edelweiss” all these years later, his response was: “Of course not—are you mad?!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Plummer was born in 1929 in Toronto and fell in love with theater in high school. He developed some serious acting chops, playing Shakespearean roles in both Canada and England.\u003c/p>\n\u003cp>“I’m so glad I was Canadian, in a way, because a Canadian can take the best of the British and the best of the American school,” he \u003ca href=\"https://www.npr.org/transcripts/96373876\" target=\"_blank\" rel=\"noopener noreferrer\">said.\u003c/a> “We’re rather good at that—we’re kind of like chameleons in that respect.”\u003c/p>\n\u003cp>He said his relationship with Shakespeare changed over the years. “As you grow older, and you have some experience of life, you see more into the depths of each character,” he \u003ca href=\"https://www.npr.org/transcripts/96373876\" target=\"_blank\" rel=\"noopener noreferrer\">told\u003c/a> \u003cem>Fresh Air. \u003c/em>Take \u003cem>King Lear\u003c/em> for instance—”It is so very modern in its dysfunctional family and all of the trappings of power that are disappearing from them—is so modern, it’s so human. You need to be much older to understand the depths of a part like that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13892301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-800x1202.jpg\" alt=\"Christopher Plummer as Sherlock Holmes in 1978.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1022x1536.jpg 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1363x2048.jpg 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-1920x2885.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/gettyimages-3267364_enl-a02c4dc0e1c9993d70d28e172b4f90203c9ab471-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Plummer as Sherlock Holmes in 1978. \u003ccite>(Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For most of his more than 60-year career, Plummer split his time appearing both on stage and in films—among his movies were \u003cem>Stage Struck\u003c/em> and \u003cem>The Man Who Would Be King\u003c/em>. He even played a Klingon general in \u003cem>Star Trek VI: The Undiscovered Country\u003c/em>.\u003c/p>\n\u003cp>Onstage, he played Iago to James Earl Jones’ Othello. He played Cyrano de Bergerac in a musical version of the Edmond Rostand play, for which he won a Tony Award … using his \u003cem>own\u003c/em> voice.\u003c/p>\n\u003cp>“His characters were so big,” Maslon says. “He filled them with so much verve and talent.”\u003c/p>\n\u003cp>Plummer’s film career flowered as he got older. He says playing Mike Wallace in \u003cem>The Insider\u003c/em> was a turning point—the scripts got more “intelligent” he said, an “A level rather than a B plus.” He was cast in plummy character roles, including J. Paul Getty in \u003cem>All the Money in the World\u003c/em>, and a father who comes out as gay at the age of 75 in \u003cem>Beginners\u003c/em>—a performance that won him an Oscar.\u003c/p>\n\u003cp>“I adored the part and I thought it was so well written and so unsentimental and brave and witty and free …” Plummer \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\" target=\"_blank\" rel=\"noopener noreferrer\">said\u003c/a> of playing Hal in \u003cem>Beginners\u003c/em>. “It was tackled with such humanity and sweetness and fun.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer said the characters he played later on in his career were the ones that that interested him: “They’re witty,” he said. “They’ve got a wonderful edge to them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit\u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\"> NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Plummer%2C+Star+Of+Stage%2C+Screen%2C+%27Sound+Of+Music%2C%27+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dustin Diamond, the actor known for his role as Screech in the hit sitcom \u003cem>Saved by the Bell,\u003c/em> died Monday, from cancer. According to a statement from his manager Roger Paul, “he was diagnosed with this brutal, relentless form of malignant cancer only three weeks ago. In that time, it managed to spread rapidly throughout his system; the only mercy it exhibited was its sharp and swift execution.” He was 44 years old.\u003c/p>\n\u003cp>As Samuel “Screech” Powers, Diamond played the goofy, nerdy sidekick on \u003cem>Saved by the Bell\u003c/em>. He was a foil to the troublemaking charm of Zack Morris (played by Mark-Paul Gosselaar), and an annoyance to the rich and snobby Lisa Turtle (played by Lark Voorhies). Though Diamond had been attached to the show since its precursor, \u003cem>Good Morning, Miss Bliss\u003c/em>, through to its spinoff \u003cem>Saved the Be Bell: The New Class\u003c/em>, he did not appear in the current iteration of the show that’s streaming on Peacock.\u003c/p>\n\u003cp>After \u003cem>Saved by the Bell\u003c/em>, Diamond distanced himself from the character. In 2006 he directed himself in and released a sex tape called “Screeched,” which he later told the Oprah Winfrey Network was faked using a stunt person.\u003c/p>\n\u003cp>“People, to this day, look down on me,” he said. “And I didn’t really do it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GWtctcYcDeo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Diamond also made appearances on various reality TV shows throughout the 2000s, such as \u003cem>Celebrity Fit Club\u003c/em>, \u003cem>Hulk Hogan’s Celebrity Championship Wrestling\u003c/em> and \u003cem>Celebrity Big Brother. \u003c/em>On those shows and in his 2009 book \u003cem>Behind the Bell\u003c/em>, Diamond came off as acerbic and possibly off-putting. But his manager Roger Paul said in the statement, “[Diamond]—much like the rest of those who act out and behave poorly—had undergone a great deal of turmoil and heartache. His actions, though rebukeable, stemmed from loss and the lack of knowledge on how to process that pain properly.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In actuality,” the statement continued, “Dustin was a humorous and high-spirited individual whose greatest passion was to make others laugh. He was able to sense and feel other peoples’ emotions to such a length that he was able to feel them too—a strength and a flaw, all in one.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Saved+By+The+Bell%27+Star+Dustin+Diamond+Dead+At+44&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dustin Diamond, the actor known for his role as Screech in the hit sitcom \u003cem>Saved by the Bell,\u003c/em> died Monday, from cancer. According to a statement from his manager Roger Paul, “he was diagnosed with this brutal, relentless form of malignant cancer only three weeks ago. In that time, it managed to spread rapidly throughout his system; the only mercy it exhibited was its sharp and swift execution.” He was 44 years old.\u003c/p>\n\u003cp>As Samuel “Screech” Powers, Diamond played the goofy, nerdy sidekick on \u003cem>Saved by the Bell\u003c/em>. He was a foil to the troublemaking charm of Zack Morris (played by Mark-Paul Gosselaar), and an annoyance to the rich and snobby Lisa Turtle (played by Lark Voorhies). Though Diamond had been attached to the show since its precursor, \u003cem>Good Morning, Miss Bliss\u003c/em>, through to its spinoff \u003cem>Saved the Be Bell: The New Class\u003c/em>, he did not appear in the current iteration of the show that’s streaming on Peacock.\u003c/p>\n\u003cp>After \u003cem>Saved by the Bell\u003c/em>, Diamond distanced himself from the character. In 2006 he directed himself in and released a sex tape called “Screeched,” which he later told the Oprah Winfrey Network was faked using a stunt person.\u003c/p>\n\u003cp>“People, to this day, look down on me,” he said. “And I didn’t really do it.”\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/GWtctcYcDeo'\n title='//www.youtube.com/embed/GWtctcYcDeo'\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": "\u003cp>Hank Aaron, seen as a hero for shattering Babe Ruth’s home run record and also for his longtime advocacy for civil rights, has died. “Hammerin’ Hank” was 86. The Atlanta Braves \u003ca href=\"https://twitter.com/Braves/status/1352650753920430083\">confirmed his death\u003c/a> on Friday.\u003c/p>\n\u003cp>“We are absolutely devastated by the passing of our beloved Hank. He was a beacon for our organization first as a player, then with player development, and always with our community efforts,” Braves chairman Terry McGuirk \u003ca href=\"https://www.mlb.com/braves/news/hank-aaron-baseball-legend-dies\">said\u003c/a>.\u003c/p>\n\u003cp>Because of his skill and power at the plate — Aaron batted in more than 100 runs in a season in three decades — Major League Baseball named its award for the best offensive player after him.\u003c/p>\n\u003cp>Aaron started his career in 1954, playing for the Milwaukee Braves. The franchise moved to Atlanta for the 1966 season, and that’s where Aaron broke Ruth’s hallowed record by hitting his 715th home run in 1974. \u003c/p>\n\u003cp>In his call of Aaron’s history-making hit, sportscaster Vin Scully said, “What a marvelous moment for baseball, what a marvelous moment for Atlanta and the state of Georgia, what a marvelous moment for the country and the world.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/QjqYThEVoSQ\u003c/p>\n\u003cp>“A Black man is getting a standing ovation in the Deep South for breaking a record of an all-time baseball idol,” Scully added. “And it is a great moment for all of us – and particularly for Henry Aaron.”\u003c/p>\n\u003cp>Scully noted that in addition to his Braves teammates, Aaron’s mother and father ran to meet him at home plate.\u003c/p>\n\u003cp>Known for his stoic public demeanor — and also for being a proud competitor — Aaron faced immense pressure as he strove to surpass Ruth’s hallowed home run record that dated to the 1930s. He also faced a racial backlash. \u003c/p>\n\u003cp>As a Black man who was threatening to put his name above the iconic Ruth in the record books, Aaron received enough hate mail and threats that his family was protected by the FBI. \u003c/p>\n\u003cp>“Y’know it wasn’t a very happy time,” his Atlanta teammate and friend Dusty Baker \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12295346\">told NPR\u003c/a>. “It wasn’t nearly as happy as it should’ve been.”\u003c/p>\n\u003cp>When Aaron headed to the plate where he would make history, Baker recalled him saying, “I’m tired of this, I’m gonna get it over with.”\u003c/p>\n\u003cp>In addition to his phenomenal ability on a baseball field, Aaron was famous for advocating for civil rights. He often used his own life story — he went from being born poor in the South to receiving the Presidential Medal of Freedom — to discuss the challenges of overcoming racial inequality. \u003c/p>\n\u003cp>“We have moved in the right direction, and there have been improvements, but we still have a long ways to go in the country,” Aaron \u003ca href=\"https://www.usatoday.com/story/sports/mlb/2014/04/07/hank-aaron-40th-anniversary-of-715-home-run-babe-ruth/7432225/?sf24769494=1\">said in 2014\u003c/a>. “The bigger difference is that back then they had hoods. Now they have neckties and starched shirts.”\u003c/p>\n\u003cp>Aaron began his pro career in the Negro League. When he joined the Braves organization, he played for a minor league team in Florida, becoming one of the first Black players to break the color barrier in the South.\u003c/p>\n\u003cp>Aaron retired in 1976, after hitting 755 home runs during his pro career. That mark stood for more than 30 years, before Barry Bonds set a new record. Bonds finished his career with 762 home runs.\u003c/p>\n\u003cp>Aaron hit .305 over his career, accounting for 2,297 runs batted in and 6,856 total bases — both of which remain all-time records. After his retirement, the widely respected player became an executive for the Atlanta Braves. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His death comes as the Braves organization and its fans are mourning the loss of \u003ca href=\"https://www.npr.org/2021/01/20/958652984/hall-of-fame-pitcher-baseball-announcer-don-sutton-dies-at-75\">Don Sutton\u003c/a>, who became a longtime announcer for the team after a Hall of Fame pitching career. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Hank+Aaron%2C+Baseball%27s+Legendary+Slugger%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hank Aaron, seen as a hero for shattering Babe Ruth’s home run record and also for his longtime advocacy for civil rights, has died. “Hammerin’ Hank” was 86. The Atlanta Braves \u003ca href=\"https://twitter.com/Braves/status/1352650753920430083\">confirmed his death\u003c/a> on Friday.\u003c/p>\n\u003cp>“We are absolutely devastated by the passing of our beloved Hank. He was a beacon for our organization first as a player, then with player development, and always with our community efforts,” Braves chairman Terry McGuirk \u003ca href=\"https://www.mlb.com/braves/news/hank-aaron-baseball-legend-dies\">said\u003c/a>.\u003c/p>\n\u003cp>Because of his skill and power at the plate — Aaron batted in more than 100 runs in a season in three decades — Major League Baseball named its award for the best offensive player after him.\u003c/p>\n\u003cp>Aaron started his career in 1954, playing for the Milwaukee Braves. The franchise moved to Atlanta for the 1966 season, and that’s where Aaron broke Ruth’s hallowed record by hitting his 715th home run in 1974. \u003c/p>\n\u003cp>In his call of Aaron’s history-making hit, sportscaster Vin Scully said, “What a marvelous moment for baseball, what a marvelous moment for Atlanta and the state of Georgia, what a marvelous moment for the country and the world.”\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/QjqYThEVoSQ'\n title='//www.youtube.com/embed/QjqYThEVoSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“A Black man is getting a standing ovation in the Deep South for breaking a record of an all-time baseball idol,” Scully added. “And it is a great moment for all of us – and particularly for Henry Aaron.”\u003c/p>\n\u003cp>Scully noted that in addition to his Braves teammates, Aaron’s mother and father ran to meet him at home plate.\u003c/p>\n\u003cp>Known for his stoic public demeanor — and also for being a proud competitor — Aaron faced immense pressure as he strove to surpass Ruth’s hallowed home run record that dated to the 1930s. He also faced a racial backlash. \u003c/p>\n\u003cp>As a Black man who was threatening to put his name above the iconic Ruth in the record books, Aaron received enough hate mail and threats that his family was protected by the FBI. \u003c/p>\n\u003cp>“Y’know it wasn’t a very happy time,” his Atlanta teammate and friend Dusty Baker \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12295346\">told NPR\u003c/a>. “It wasn’t nearly as happy as it should’ve been.”\u003c/p>\n\u003cp>When Aaron headed to the plate where he would make history, Baker recalled him saying, “I’m tired of this, I’m gonna get it over with.”\u003c/p>\n\u003cp>In addition to his phenomenal ability on a baseball field, Aaron was famous for advocating for civil rights. He often used his own life story — he went from being born poor in the South to receiving the Presidential Medal of Freedom — to discuss the challenges of overcoming racial inequality. \u003c/p>\n\u003cp>“We have moved in the right direction, and there have been improvements, but we still have a long ways to go in the country,” Aaron \u003ca href=\"https://www.usatoday.com/story/sports/mlb/2014/04/07/hank-aaron-40th-anniversary-of-715-home-run-babe-ruth/7432225/?sf24769494=1\">said in 2014\u003c/a>. “The bigger difference is that back then they had hoods. Now they have neckties and starched shirts.”\u003c/p>\n\u003cp>Aaron began his pro career in the Negro League. When he joined the Braves organization, he played for a minor league team in Florida, becoming one of the first Black players to break the color barrier in the South.\u003c/p>\n\u003cp>Aaron retired in 1976, after hitting 755 home runs during his pro career. That mark stood for more than 30 years, before Barry Bonds set a new record. Bonds finished his career with 762 home runs.\u003c/p>\n\u003cp>Aaron hit .305 over his career, accounting for 2,297 runs batted in and 6,856 total bases — both of which remain all-time records. After his retirement, the widely respected player became an executive for the Atlanta Braves. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>His death comes as the Braves organization and its fans are mourning the loss of \u003ca href=\"https://www.npr.org/2021/01/20/958652984/hall-of-fame-pitcher-baseball-announcer-don-sutton-dies-at-75\">Don Sutton\u003c/a>, who became a longtime announcer for the team after a Hall of Fame pitching career. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 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=Hank+Aaron%2C+Baseball%27s+Legendary+Slugger%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "remembering-k-maxx-a-musician-and-dj-who-helped-revive-funk-in-the-bay-area",
"title": "Remembering K-Maxx, a Musician and DJ Who Helped Revive Funk in the Bay Area",
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"headTitle": "Remembering K-Maxx, a Musician and DJ Who Helped Revive Funk in the Bay Area | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A fixture in the Bay Area’s underground hip-hop, funk and boogie scenes for over 20 years, K-Maxx (a.k.a. Kenyan “Ken” Hopkins) died unexpectedly of unknown causes on Dec. 29, 2020. KQED was scheduled to interview the San Francisco multi-instrumentalist, producer, MC and radio DJ about his new album when we learned of his passing. \u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Selections\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a funky, love-laced dance record that now reads as a fitting last dispatch from a well respected artist.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was a brother, an amazing musician, and a cherished friend to all. Words escape us as we are still in shock,” reads the announcement of K-Maxx’s passing on his\u003c/span>\u003ca href=\"https://www.instagram.com/p/CJeold6Mt42/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Among the most common comments were memories of K-Maxx’s positivity, big smile and penchant for deep conversation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">K-Maxx was a prolific musician and producer, though his voice is perhaps his most enduring legacy. He spent well over a decade behind the mic at\u003c/span>\u003ca href=\"https://www.sfgate.com/entertainment/article/KPOO-radio-keeps-community-roots-6622492.php\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">89.5 FM KPOO\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Fillmore, lightly lisping as he threw down fire tracks on his four-hour Friday night show, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Ghetto Gumbo\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. While \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Gumbo\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> was billed as a hip-hop program, it grew to encompass a breadth of adjacent genres. K-Maxx played modern roots reggae, Roy Ayers and The Crusaders’ 1979 hit “Street Life” alongside tracks from Outkast, Fashawn and Common. His knack for connecting the dots between funk, soul and hip-hop were unparalleled on local radio.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/Wg-pSkHGx6c\u003c/p>\n\u003ch2>Roots in ’90s Hip-Hop\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The same could be said of K-Maxx’s progression as a musician and producer. Raised in a musical household with a jazz-head father and a mother who was into funk and soul, K-Maxx “\u003c/span>\u003cspan style=\"font-weight: 400\">always had an open ear.” Speaking to Chicago’s \u003c/span>\u003ca href=\"https://cherriesrecords.tumblr.com/post/126101308723/get-to-know-san-franciscos-funk-child-k-maxx\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Cherries Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in 2015, K-Maxx\u003c/span> \u003cspan style=\"font-weight: 400\">said, “I just approach [music] from a grassroots, organic kind of way….I’m just trying to capture [feelings], and I don’t know what that’s going to manifest as, but when I sit down at the keys or the workstation I try and figure out what it might feel like to be in that moment.” Over 15 years, K-Maxx released three self-produced albums on his own Arielle Records:\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0YO1DwFLcOk\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003ci>\u003cspan style=\"font-weight: 400\">Sumthin’ Ta Roll Wit\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (1994), Still Rollin’ (1996) and\u003c/span>\u003c/i>\u003ca href=\"https://k-maxx.bandcamp.com/album/the-whole-woo-wop\"> \u003ci>\u003cspan style=\"font-weight: 400\">The Whole Woo Wop\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (2009). \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Each project came hard with head-bobbing beats and sensitive, shrewd lyricism that stood out among the Bay’s prolific hip-hop scene. They still sound fresh today. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While K-Maxx’s first two albums featured beats created from samples, by the late ’90s he’d committed to playing all the instruments on his tracks\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. “\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">It’s like cooking some food, all from scratch, man. Every ‘klank,’ ‘click,’ all the guitar riffs, all the bass, all the drum tracks, the lead vocals and the background vocals is all me,” he told Cherries. “I was doing hip-hop beats growing up and…I love the art form in itself, but when it’s time for business you have to get clearances and all that, and it just made me more interested in the science behind it, why that record sounded like that.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Woo Wop \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">was K-Maxx’s last hip-hop-centric output; its ’80s-inspired track “\u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/track/supadrunk-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">SupaDrunk\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” a funky hint of what was to come.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> “\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">I didn’t really wanna do [hip-hop] anymore anyway, so I just turned up that other pilot light on the oven,” he told \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wax Poetics\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> magazine in 2014. K-Maxx was digging into the slower\u003c/span>\u003cspan style=\"font-weight: 400\">, drum machine- and synth-heavy funk sound known as boogie. “T\u003c/span>\u003cspan style=\"font-weight: 400\">hat kind of sound is my musical \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wonder Years\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, that coming-of-age time,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Boogie emerged in defiance of the “\u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener noreferrer\">disco sucks\u003c/a>” movement—a more queer, more Black, more underground sound. \u003c/span>\u003cspan style=\"font-weight: 400\">“What we call boogie is what grew from the ashes,” K-Maxx told\u003c/span>\u003ca href=\"https://daily.bandcamp.com/lists/new-funk-boogie-list\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">Bandcamp in 2019\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in an article about the genre’s modern resurgence. “It provided another energy where people could vibe, mingle and bring different cultures and communities together.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=3435087077/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ushering in a Boogie Resurgence\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">K-Maxx soon found kindred spirits in the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sweater Funk DJ crew\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> then operating out of the basement at Chinatown’s Li Po lounge. By the time Sweater Funk moved its weekly Sunday night party from Li Po’s dark basement across town to The Knockout, K-Maxx had become the 10-person crew’s de-facto MC and host. “What Sweater Funk really did was validated the shit,” he continued in the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wax Poetics \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">interview. “I’m no longer inside of my head thinking I’m doing something [interesting].” In 2013, K-Maxx and Sweater Funk released a four-track\u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/album/k-maxx-sweater-funk-ep\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">self-titled EP\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of groovy love songs, each earnest and danceable without being cheesy. (K-Maxx’s Sweater Funk collaborators declined to be interviewed for this article.) [aside postid='arts_13837743']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not terribly known that a lot of modern funk is rooted in the Bay Area, specifically Oakland and San Francisco,” journalist and\u003c/span>\u003ca href=\"https://needletothegroove.net/\"> \u003cspan style=\"font-weight: 400\">Needle to the Groove\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> partner David Ma wrote in an email. “With Sweater Funk’s long-running events, boogie and its adjacent genres have been celebrated in a small yet vital scene that imparted influence far beyond the Bay Bridge.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3266570490/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">New York City DJ \u003c/span>\u003ca href=\"http://natashadiggs.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Natasha Diggs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> first heard K-Maxx’s \u003c/span>\u003ca href=\"https://potionsmusicnyc.bandcamp.com/album/be-together-b-w-reachin-cherries-records\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Cherries Records 7-inch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> from 2015, and would regularly play “SupaDrunk” at gigs. “I just thought it was so fly and had its own thing goin’ for it,” she said. While she mostly knew K-Maxx online, Diggs said she \u003c/span>\u003cspan style=\"font-weight: 400\">“could feel his sweet spirit in our interactions and through his soulful music, always unique and true to him.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We will keep his legacy alive by continuing to play the treasures he left us,” she added. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">K-Maxx continually kept it moving, bringing that distinct Bay sensibility to a variety of projects. He collaborated with Dan the Automator, \u003c/span>\u003cspan style=\"font-weight: 400\">Andre Nickatina,\u003c/span>\u003ca href=\"https://www.onestowatch.com/blog/time-to-boogie-with-nick-wisdoms-dont-tell\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">Nick Wisdom\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Too Short and Tower of Power vocalist Lenny Williams (for whom he produced and co-wrote the single\u003c/span> “\u003ca href=\"https://www.youtube.com/watch?v=C6-2A4kBgn4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tuesday\u003c/span>\u003c/a>”\u003cspan style=\"font-weight: 400\">), always \u003c/span>\u003cspan style=\"font-weight: 400\">bringing a blend of hip-hop, funk and soul influence. K-Maxx also had a slew of releases\u003c/span>\u003cspan style=\"font-weight: 400\"> on various labels, and was featured on multiple compilations. K-Maxx took a multi-year break before debuting what would be his final project, released the day he died.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The self-released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Selections \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">radiates positive energy, the same kind K-Maxx’s friends and colleagues reminisced about following the announcement of his death. Written before his mother died and produced after, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Selections’ \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">six tracks were an attempt to fill a void. “My mom, who was my heart and my best friend, passed away and I was lost. I didn’t want to think about music for a good while and didn’t know when I would,” K-Maxx\u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/album/k-maxx-sweater-funk-ep\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">said in a statement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about the album’s release. “Slowly, I began to feel a void from not making/releasing music. Then, of course, the pandemic hit us all. I decided to stick to my gut instincts and proceed forward.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1934327472/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Running through the core of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Selections\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—as with most of K-Maxx’s work—is the feeling of a singular love. “I’m tapping into the era when people truly expressed how they felt about each other and did it unabashedly,” he continued. “The bond between two people can be such a powerful union. I want to encourage it through the music. You should dance to it too, even if it’s in your PJs in the living room.” While K-Maxx definitely had more to give, his uplifting vibe and dedication to putting out deeply danceable music will be long-lasting.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His songs felt earnestly carefree and the songwriting remained consistent through the last 10-plus years,” Ma said. “While his death seems understated, his impact cannot be. The funk resurgence as we know it probably wouldn’t have had such an impact if it weren’t for K-Maxx’s quiet consistency through the decades. Ask any longtime DJ in the area, and they’ll lovingly tell you the same.”\u003c/span>\u003c/p>\n\n",
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"title": "Remembering K-Maxx, a Musician and DJ Who Helped Revive Funk in the Bay Area | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A fixture in the Bay Area’s underground hip-hop, funk and boogie scenes for over 20 years, K-Maxx (a.k.a. Kenyan “Ken” Hopkins) died unexpectedly of unknown causes on Dec. 29, 2020. KQED was scheduled to interview the San Francisco multi-instrumentalist, producer, MC and radio DJ about his new album when we learned of his passing. \u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Selections\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a funky, love-laced dance record that now reads as a fitting last dispatch from a well respected artist.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was a brother, an amazing musician, and a cherished friend to all. Words escape us as we are still in shock,” reads the announcement of K-Maxx’s passing on his\u003c/span>\u003ca href=\"https://www.instagram.com/p/CJeold6Mt42/\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Among the most common comments were memories of K-Maxx’s positivity, big smile and penchant for deep conversation.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">K-Maxx was a prolific musician and producer, though his voice is perhaps his most enduring legacy. He spent well over a decade behind the mic at\u003c/span>\u003ca href=\"https://www.sfgate.com/entertainment/article/KPOO-radio-keeps-community-roots-6622492.php\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">89.5 FM KPOO\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the Fillmore, lightly lisping as he threw down fire tracks on his four-hour Friday night show, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Ghetto Gumbo\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. While \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Gumbo\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> was billed as a hip-hop program, it grew to encompass a breadth of adjacent genres. K-Maxx played modern roots reggae, Roy Ayers and The Crusaders’ 1979 hit “Street Life” alongside tracks from Outkast, Fashawn and Common. His knack for connecting the dots between funk, soul and hip-hop were unparalleled on local radio.\u003c/span>\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/Wg-pSkHGx6c'\n title='//www.youtube.com/embed/Wg-pSkHGx6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Roots in ’90s Hip-Hop\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The same could be said of K-Maxx’s progression as a musician and producer. Raised in a musical household with a jazz-head father and a mother who was into funk and soul, K-Maxx “\u003c/span>\u003cspan style=\"font-weight: 400\">always had an open ear.” Speaking to Chicago’s \u003c/span>\u003ca href=\"https://cherriesrecords.tumblr.com/post/126101308723/get-to-know-san-franciscos-funk-child-k-maxx\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Cherries Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in 2015, K-Maxx\u003c/span> \u003cspan style=\"font-weight: 400\">said, “I just approach [music] from a grassroots, organic kind of way….I’m just trying to capture [feelings], and I don’t know what that’s going to manifest as, but when I sit down at the keys or the workstation I try and figure out what it might feel like to be in that moment.” Over 15 years, K-Maxx released three self-produced albums on his own Arielle Records:\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0YO1DwFLcOk\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003ci>\u003cspan style=\"font-weight: 400\">Sumthin’ Ta Roll Wit\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (1994), Still Rollin’ (1996) and\u003c/span>\u003c/i>\u003ca href=\"https://k-maxx.bandcamp.com/album/the-whole-woo-wop\"> \u003ci>\u003cspan style=\"font-weight: 400\">The Whole Woo Wop\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> (2009). \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Each project came hard with head-bobbing beats and sensitive, shrewd lyricism that stood out among the Bay’s prolific hip-hop scene. They still sound fresh today. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While K-Maxx’s first two albums featured beats created from samples, by the late ’90s he’d committed to playing all the instruments on his tracks\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">. “\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">It’s like cooking some food, all from scratch, man. Every ‘klank,’ ‘click,’ all the guitar riffs, all the bass, all the drum tracks, the lead vocals and the background vocals is all me,” he told Cherries. “I was doing hip-hop beats growing up and…I love the art form in itself, but when it’s time for business you have to get clearances and all that, and it just made me more interested in the science behind it, why that record sounded like that.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Woo Wop \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">was K-Maxx’s last hip-hop-centric output; its ’80s-inspired track “\u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/track/supadrunk-2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">SupaDrunk\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” a funky hint of what was to come.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> “\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">I didn’t really wanna do [hip-hop] anymore anyway, so I just turned up that other pilot light on the oven,” he told \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wax Poetics\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> magazine in 2014. K-Maxx was digging into the slower\u003c/span>\u003cspan style=\"font-weight: 400\">, drum machine- and synth-heavy funk sound known as boogie. “T\u003c/span>\u003cspan style=\"font-weight: 400\">hat kind of sound is my musical \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wonder Years\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, that coming-of-age time,” he said. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Boogie emerged in defiance of the “\u003ca href=\"https://www.npr.org/2016/07/16/485873750/july-12-1979-the-night-disco-died-or-didnt\" target=\"_blank\" rel=\"noopener noreferrer\">disco sucks\u003c/a>” movement—a more queer, more Black, more underground sound. \u003c/span>\u003cspan style=\"font-weight: 400\">“What we call boogie is what grew from the ashes,” K-Maxx told\u003c/span>\u003ca href=\"https://daily.bandcamp.com/lists/new-funk-boogie-list\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">Bandcamp in 2019\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in an article about the genre’s modern resurgence. “It provided another energy where people could vibe, mingle and bring different cultures and communities together.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/track=3435087077/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Ushering in a Boogie Resurgence\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">K-Maxx soon found kindred spirits in the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13837743/how-sweater-funk-djs-revived-boogie-a-once-uncool-sound\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Sweater Funk DJ crew\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\"> then operating out of the basement at Chinatown’s Li Po lounge. By the time Sweater Funk moved its weekly Sunday night party from Li Po’s dark basement across town to The Knockout, K-Maxx had become the 10-person crew’s de-facto MC and host. “What Sweater Funk really did was validated the shit,” he continued in the \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Wax Poetics \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">interview. “I’m no longer inside of my head thinking I’m doing something [interesting].” In 2013, K-Maxx and Sweater Funk released a four-track\u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/album/k-maxx-sweater-funk-ep\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">self-titled EP\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> of groovy love songs, each earnest and danceable without being cheesy. (K-Maxx’s Sweater Funk collaborators declined to be interviewed for this article.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not terribly known that a lot of modern funk is rooted in the Bay Area, specifically Oakland and San Francisco,” journalist and\u003c/span>\u003ca href=\"https://needletothegroove.net/\"> \u003cspan style=\"font-weight: 400\">Needle to the Groove\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> partner David Ma wrote in an email. “With Sweater Funk’s long-running events, boogie and its adjacent genres have been celebrated in a small yet vital scene that imparted influence far beyond the Bay Bridge.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3266570490/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">New York City DJ \u003c/span>\u003ca href=\"http://natashadiggs.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Natasha Diggs\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> first heard K-Maxx’s \u003c/span>\u003ca href=\"https://potionsmusicnyc.bandcamp.com/album/be-together-b-w-reachin-cherries-records\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Cherries Records 7-inch\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> from 2015, and would regularly play “SupaDrunk” at gigs. “I just thought it was so fly and had its own thing goin’ for it,” she said. While she mostly knew K-Maxx online, Diggs said she \u003c/span>\u003cspan style=\"font-weight: 400\">“could feel his sweet spirit in our interactions and through his soulful music, always unique and true to him.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We will keep his legacy alive by continuing to play the treasures he left us,” she added. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">K-Maxx continually kept it moving, bringing that distinct Bay sensibility to a variety of projects. He collaborated with Dan the Automator, \u003c/span>\u003cspan style=\"font-weight: 400\">Andre Nickatina,\u003c/span>\u003ca href=\"https://www.onestowatch.com/blog/time-to-boogie-with-nick-wisdoms-dont-tell\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">Nick Wisdom\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Too Short and Tower of Power vocalist Lenny Williams (for whom he produced and co-wrote the single\u003c/span> “\u003ca href=\"https://www.youtube.com/watch?v=C6-2A4kBgn4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tuesday\u003c/span>\u003c/a>”\u003cspan style=\"font-weight: 400\">), always \u003c/span>\u003cspan style=\"font-weight: 400\">bringing a blend of hip-hop, funk and soul influence. K-Maxx also had a slew of releases\u003c/span>\u003cspan style=\"font-weight: 400\"> on various labels, and was featured on multiple compilations. K-Maxx took a multi-year break before debuting what would be his final project, released the day he died.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The self-released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Selections \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">radiates positive energy, the same kind K-Maxx’s friends and colleagues reminisced about following the announcement of his death. Written before his mother died and produced after, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Selections’ \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">six tracks were an attempt to fill a void. “My mom, who was my heart and my best friend, passed away and I was lost. I didn’t want to think about music for a good while and didn’t know when I would,” K-Maxx\u003c/span>\u003ca href=\"https://k-maxx.bandcamp.com/album/k-maxx-sweater-funk-ep\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cspan style=\"font-weight: 400\">said in a statement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> about the album’s release. “Slowly, I began to feel a void from not making/releasing music. Then, of course, the pandemic hit us all. I decided to stick to my gut instincts and proceed forward.”\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1934327472/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Running through the core of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Selections\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—as with most of K-Maxx’s work—is the feeling of a singular love. “I’m tapping into the era when people truly expressed how they felt about each other and did it unabashedly,” he continued. “The bond between two people can be such a powerful union. I want to encourage it through the music. You should dance to it too, even if it’s in your PJs in the living room.” While K-Maxx definitely had more to give, his uplifting vibe and dedication to putting out deeply danceable music will be long-lasting.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Siegfried Fischbacher of Siegfried & Roy Dies at 81",
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"content": "\u003cp>Siegfried Fischbacher, one-half of the famous magician duo Siegfried & Roy, died Wednesday night at his home in Las Vegas from pancreatic cancer. He was 81.\u003c/p>\n\u003cp>Fischbacher’s death comes just months after his performance partner, Roy Horn, died from complications related to COVID-19 at the age of 75.\u003c/p>\n\u003cp>A statement from Siegfried & Roy’s press office said Fischbacher had a unique ability to “perform complicated magic at lightning speed.” This made him a perfect foil for Horn, a “perpetual dreamer.”\u003c/p>\n\u003cp>“Their complementary skills created a live entertainment phenomenon unlike anything that came before.”\u003c/p>\n\u003cfigure id=\"attachment_13891243\" class=\"wp-caption aligncenter\" style=\"max-width: 781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png\" alt=\"Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987.\" width=\"781\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-768x678.png 768w\" sizes=\"(max-width: 781px) 100vw, 781px\">\u003cfigcaption class=\"wp-caption-text\">Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987. \u003ccite>(Scott McKiernan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siegfried Fischbacher was born in Germany in 1939. He loved magic so much growing up that he worked as an entertainer on a cruise ship. That’s where he met Roy Horn and began a 50-year partnership that took them to Las Vegas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Siegfried & Roy magic show was an opportunity for extravagance. By 1990, they filled the stage at the MGM Mirage Hotel and Casino with costumes, smoke machines, animals and set designs that made them a destination for millions on the Las Vegas entertainment circuit.\u003c/p>\n\u003cp>Then, in 2003, a 380-pound white tiger attacked Roy Horn onstage and ended the duo’s Vegas show. The two formally retired in 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://newsroom.mgmresorts.com/road-to-mirage-in-las-vegas-renamed-siegfried-roy-drive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">street on the Las Vegas strip was named\u003c/a> after them last year, shortly after Horn’s death.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Siegfried+Fischbacher+Of+Siegfried+%26+Roy+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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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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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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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": {
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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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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"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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"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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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"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"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"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",
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"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",
"subscribe": {
"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",
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