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"content": "\u003cp>Sydney Goldstein, the founder of esteemed conversation series City Arts & Lectures, died Tuesday, Sept. 25 in Los Angeles, her daughter Kate Goldstein-Breyer confirmed. She was 73.\u003c/p>\n\u003cp>The San Francisco native launched City Arts & Lectures in 1980 and oversaw programming, which involved pairing guests such as Ta Nehisi-Coates and Edward Snowden with interlocutors including Dave Eggers and Michael Krasny, until her retirement in 2017. An enduring cultural figure, Goldstein also masterminded renovation of the 1,600-seat Nourse Theater in 2013.\u003c/p>\n\u003cp>After organizing talks at College of Marin in the 1970s, Goldstein built City Arts & Lectures into a lean organization with remarkable access to leading intellectuals and celebrities and a keen sense for maintaining relevance. Yet the spartan setup—a vase of flowers between two chairs, conversation and questions from the audience—has changed little over the decades.\u003c/p>\n\u003cp>[contextly_sidebar id=”ghFWesmhzOP62dxXkfFARG12In4BF7ZA”]\u003c/p>\n\u003cp>Goldstein also partnered with KQED to broadcast the talks to the Bay Area, as well as more than 130 public radio stations nationwide. The partnership continues to this day, while the historical tapes are archived at UC Berkeley’s Bancroft Library. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2012, when the series’ longtime venue Herbst Theater closed for renovation, Goldstein oversaw refurbishment of the sleepy Nourse Theater on Hayes Street. Facing an estimated cost of some $20 million, Goldstein pulled it off for less than $2 million.\u003c/p>\n\u003cp>“It was an incredible feat,” said KQED Forum host Michael Krasny of the renovation. “And she was exactly the person to make it happen.”\u003c/p>\n\u003cp>Krasny, a regular City Arts & Lectures interviewer, remembered his longtime friend as a local institution. “She had an extraordinary talent for pairing people in conversation and she built a program that really became a model for the entire country,” he said.\u003c/p>\n\u003cp>Author-publisher Eggers, who sits on the series’ board, also credited Goldstein with forerunning the live conversation trend. “It’s almost wholly replaced the lecture as the way to know what’s on the minds of the world’s thinkers,” Eggers \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73\">told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>. \u003c/p>\n\u003cp>Goldstein was born Oct. 13, 1944 to shopkeeper parents in San Francisco, and graduated from Lowell High School before working as a writer, artist assistant, and cocktail waitress, among other gigs. In 1975, she married federal court judge Charles Breyer. Her daughter Kate was born in 1979, followed by son Joseph in 1983. Kate became co-director of City Arts & Lectures, alongside staffer Holly Mulder-Wollan, upon \u003ca href=\"https://www.kqed.org/arts/13593404/after-36-years-founder-of-city-arts-lectures-retires\" rel=\"noopener\" target=\"_blank\">Goldstein’s retirement last year\u003c/a>. \u003c/p>\n\u003cp>Goldstein is survived by her husband Charles Breyer, sister Dorian Lewis, daughter Kate Goldstein-Breyer, son Joseph Breyer, and three grandchildren. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/forum/201304291000/a-new-home-for-city-arts-lectures\" rel=\"noopener\" target=\"_blank\">Listen to Sydney Goldstein on a 2013 episode of KQED’s Forum here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sydney Goldstein, the founder of esteemed conversation series City Arts & Lectures, died Tuesday, Sept. 25 in Los Angeles, her daughter Kate Goldstein-Breyer confirmed. She was 73.\u003c/p>\n\u003cp>The San Francisco native launched City Arts & Lectures in 1980 and oversaw programming, which involved pairing guests such as Ta Nehisi-Coates and Edward Snowden with interlocutors including Dave Eggers and Michael Krasny, until her retirement in 2017. An enduring cultural figure, Goldstein also masterminded renovation of the 1,600-seat Nourse Theater in 2013.\u003c/p>\n\u003cp>After organizing talks at College of Marin in the 1970s, Goldstein built City Arts & Lectures into a lean organization with remarkable access to leading intellectuals and celebrities and a keen sense for maintaining relevance. Yet the spartan setup—a vase of flowers between two chairs, conversation and questions from the audience—has changed little over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Goldstein also partnered with KQED to broadcast the talks to the Bay Area, as well as more than 130 public radio stations nationwide. The partnership continues to this day, while the historical tapes are archived at UC Berkeley’s Bancroft Library. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2012, when the series’ longtime venue Herbst Theater closed for renovation, Goldstein oversaw refurbishment of the sleepy Nourse Theater on Hayes Street. Facing an estimated cost of some $20 million, Goldstein pulled it off for less than $2 million.\u003c/p>\n\u003cp>“It was an incredible feat,” said KQED Forum host Michael Krasny of the renovation. “And she was exactly the person to make it happen.”\u003c/p>\n\u003cp>Krasny, a regular City Arts & Lectures interviewer, remembered his longtime friend as a local institution. “She had an extraordinary talent for pairing people in conversation and she built a program that really became a model for the entire country,” he said.\u003c/p>\n\u003cp>Author-publisher Eggers, who sits on the series’ board, also credited Goldstein with forerunning the live conversation trend. “It’s almost wholly replaced the lecture as the way to know what’s on the minds of the world’s thinkers,” Eggers \u003ca href=\"https://datebook.sfchronicle.com/entertainment/sydney-goldstein-founder-of-city-arts-lectures-dies-at-73\">told\u003c/a> the \u003cem>San Francisco Chronicle\u003c/em>. \u003c/p>\n\u003cp>Goldstein was born Oct. 13, 1944 to shopkeeper parents in San Francisco, and graduated from Lowell High School before working as a writer, artist assistant, and cocktail waitress, among other gigs. In 1975, she married federal court judge Charles Breyer. Her daughter Kate was born in 1979, followed by son Joseph in 1983. Kate became co-director of City Arts & Lectures, alongside staffer Holly Mulder-Wollan, upon \u003ca href=\"https://www.kqed.org/arts/13593404/after-36-years-founder-of-city-arts-lectures-retires\" rel=\"noopener\" target=\"_blank\">Goldstein’s retirement last year\u003c/a>. \u003c/p>\n\u003cp>Goldstein is survived by her husband Charles Breyer, sister Dorian Lewis, daughter Kate Goldstein-Breyer, son Joseph Breyer, and three grandchildren. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/forum/201304291000/a-new-home-for-city-arts-lectures\" rel=\"noopener\" target=\"_blank\">Listen to Sydney Goldstein on a 2013 episode of KQED’s Forum here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actor Burt Reynolds, who played good ol’ boys and rugged action heroes in an acting career that spanned seven decades, has died. Reynolds died Thursday morning at a Florida hospital following a heart attack. He was 82.\u003c/p>\n\u003cp>Reynolds came to stardom in \u003cem>Deliverance\u003c/em> and \u003cem>Smokey and the Bandit\u003c/em> in the 1970s, and was still making movies more than 40 years later. In 1977’s \u003cem>Smokey and the Bandit\u003c/em>, Jackie Gleason was Smokey the sheriff, Burt Reynolds was Bandit, and the plot hinged on whether Bandit and a truck-driving pal could blow through Smokey’s roadblocks and make the run in 28 hours. The smile, the mustache, the twinkle in his eye … without them, would anyone have buckled up for that bootlegging run from Texarkana to Atlanta?\u003c/p>\n\u003cp>\u003cem>Smokey and the Bandit\u003c/em> opened the same year \u003cem>Star Wars\u003c/em> hit theaters. Reynolds had been offered the part of Han Solo, actually, and turned it down, just as he’d turned down the role of James Bond, and would later turn down \u003cem>Pretty Woman\u003c/em>. No one ever accused him of being smart about choosing film roles.\u003c/p>\n\u003cp>But smart in the films? No question.\u003c/p>\n\u003cp>\u003cem>Deliverance\u003c/em> was the one that made him famous. Years of bit parts on TV hadn’t prepared audiences for his scarily ripped outdoorsman, who led Jon Voight, Ronny Cox and Ned Beatty on what would end up being a harrowing canoe trip in the Georgia backwoods. There were dueling banjos, hillbilly rapists, and Reynolds using a bow and arrow to spear fish, and to meet nature on its own terms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After \u003cem>Deliverance\u003c/em> put him on the map, Reynolds more or less owned the rest of that decade. He played football players in \u003cem>The Longest Yard\u003c/em> and \u003cem>Semi-Tough\u003c/em> — not a huge stretch for him, since he’d attended college on a football scholarship. The bootlegger thing kept coming back in \u003cem>White Lightning\u003c/em> and \u003cem>Lucky Lady\u003c/em>. And off-screen, he also cultivated an outlaw vibe — including \u003ca href=\"https://www.cosmopolitan.com/entertainment/news/a48108/burt-reynolds-cosmo-classic/\">posing nude\u003c/a> on a bearskin rug for \u003cem>Cosmopolitan.\u003c/em>\u003c/p>\n\u003cp>Perhaps unsurprisingly, his marriages didn’t last. Nor did a relationship with sometime co-star Sally Field, whom he later called the love of his life — to her evident surprise.\u003c/p>\n\u003cp>His mistakes on screen included singing in the musical comedy \u003cem>The Best Little Whorehouse in Texas\u003c/em>. “I can sing,” he admitted to interviewers, “as well as Fred Astaire can act.”\u003c/p>\n\u003cp>He had no quips to offer for his business acumen. Reynolds briefly owned a football team, a nightclub and a chain of restaurants before declaring bankruptcy. He also took 22 years to pay a divorce settlement to Loni Anderson.\u003c/p>\n\u003cp>And somehow, he kept coming back — most famously, perhaps, in the 1997 award winner \u003cem>Boogie Nights\u003c/em>, where he played a porn director who had dreams of making movies that were more than (just) porn. “This is the film I want them to remember me by,” his character says — and they did, with an Oscar nomination for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost 20 years (and 60 roles) later, he \u003ca href=\"http://www.wbur.org/hereandnow/2016/10/17/memoir-burt-reynolds\">published a memoir\u003c/a> called \u003cem>But Enough About Me\u003c/em> — a jokey title for a bestseller that proved beyond a doubt, that audiences still weren’t tired of hearing about Burt Reynolds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burt+Reynolds%2C+Swaggering+Star+Actor%2C+Has+Died+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After \u003cem>Deliverance\u003c/em> put him on the map, Reynolds more or less owned the rest of that decade. He played football players in \u003cem>The Longest Yard\u003c/em> and \u003cem>Semi-Tough\u003c/em> — not a huge stretch for him, since he’d attended college on a football scholarship. The bootlegger thing kept coming back in \u003cem>White Lightning\u003c/em> and \u003cem>Lucky Lady\u003c/em>. And off-screen, he also cultivated an outlaw vibe — including \u003ca href=\"https://www.cosmopolitan.com/entertainment/news/a48108/burt-reynolds-cosmo-classic/\">posing nude\u003c/a> on a bearskin rug for \u003cem>Cosmopolitan.\u003c/em>\u003c/p>\n\u003cp>Perhaps unsurprisingly, his marriages didn’t last. Nor did a relationship with sometime co-star Sally Field, whom he later called the love of his life — to her evident surprise.\u003c/p>\n\u003cp>His mistakes on screen included singing in the musical comedy \u003cem>The Best Little Whorehouse in Texas\u003c/em>. “I can sing,” he admitted to interviewers, “as well as Fred Astaire can act.”\u003c/p>\n\u003cp>He had no quips to offer for his business acumen. Reynolds briefly owned a football team, a nightclub and a chain of restaurants before declaring bankruptcy. He also took 22 years to pay a divorce settlement to Loni Anderson.\u003c/p>\n\u003cp>And somehow, he kept coming back — most famously, perhaps, in the 1997 award winner \u003cem>Boogie Nights\u003c/em>, where he played a porn director who had dreams of making movies that were more than (just) porn. “This is the film I want them to remember me by,” his character says — and they did, with an Oscar nomination for best supporting actor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost 20 years (and 60 roles) later, he \u003ca href=\"http://www.wbur.org/hereandnow/2016/10/17/memoir-burt-reynolds\">published a memoir\u003c/a> called \u003cem>But Enough About Me\u003c/em> — a jokey title for a bestseller that proved beyond a doubt, that audiences still weren’t tired of hearing about Burt Reynolds.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Burt+Reynolds%2C+Swaggering+Star+Actor%2C+Has+Died+At+82&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Trying to recall the first time I heard the voice of Aretha Franklin is like trying to recall when I first noticed the sky.\u003c/p>\n\u003cp>From the time I could crawl across our green shag carpet at our home in Oakland’s Fruitvale District, I can recall rummaging through the dual polished mahogany cabinets in our home that served as a treasure chest for my mother’s LPs and 45s. I’d flip through cardboard sleeves covered with the faces of Teddy, Tina, Isaac, James, Diana and Smokey, an act that would often evoke a \u003cem>“girl, you don’t know nothin’ about this,”\u003c/em> followed by a brief history lesson from by mother and grandmother, culminating in a decadent sampling of music.\u003c/p>\n\u003cp>Many names were exalted. But I came to understand that there was only one queen.\u003c/p>\n\u003cp>Saturday mornings were reserved for her. As I partook in the weekly ritual of morning chores, Aretha’s voice would pour over my soul like warm honey, transforming my pajamas and headscarf into an ornate ball gown and elaborate bouffant. Broom sticks became makeshift mic stands. And, for a few minutes, the voice overpowering the faint crackle of the spinning 45 belonged to me. A child of the ’80s, born to a daughter of Detroit, I demanded R-E-S-P-E-C-T when I was still learning to spell, I was feeling like a natural woman before I hit puberty, and I vowed I’d never be in someone’s chain of fools before I ever went on a date.\u003c/p>\n\u003cfigure id=\"attachment_13839193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg\" alt=\"Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1200x845.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California. \u003ccite>(Jesse Grant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I matured, my fascination for the family’s old records would give way to the novelty of compact discs, new jack swing, R&B and neo-soul. But Aretha’s indelible impact couldn’t be erased. I’d find myself craving her voice when modern music failed to take me to the places only Aretha could reach. And as I grew older and aged into love and romance, I discovered new dimensions to her music. The urgency of her plea on “Call Me,” articulating feelings of longing I’d had yet to experience. The eternal truth of “(You Make Me Feel Like) A Natural Woman,” which took on an entirely new meaning once I crossed the threshold into womanhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whenever I thought my adoration for Aretha had diminished, she’d resurface and stir my soul in a way only she could. She’d translate emotions from a pivotal film in my youth, \u003cem>Waiting to Exhale\u003c/em>. She’d collaborate with my then-favorite artist Lauryn Hill on her album \u003cem>A Rose is Still A Rose\u003c/em>.\u003c/p>\n\u003cp>And at Barack Obama’s 2009 inauguration, her presence on the Capitol steps that morning meant that a piece of me was there onstage beside America’s first black president.\u003c/p>\n\u003cp>While other artists from her generation struggled to reinvent themselves and connect with a younger audience, Aretha never wavered from the confidence of her throne. Hers was a gift that required no embellishment or novelty; even when she was called to \u003ca href=\"https://www.youtube.com/watch?v=KBCWLhlJV0Y\" target=\"_blank\" rel=\"noopener noreferrer\">duet with a contemporary pop star\u003c/a>, it rarely felt forced. She forged a deep bond with anyone who heard her voice, the power to distill pain, joy and unfiltered soul into every word she sung.\u003c/p>\n\u003cfigure id=\"attachment_13839194\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg\" alt=\"The single for 'It Hurts Like Hell' from the film 'Waiting to Exhale.'\" width=\"617\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-520x498.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-32x32.jpg 32w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">The single for ‘It Hurts Like Hell’ from the film ‘Waiting to Exhale.’\u003c/figcaption>\u003c/figure>\n\u003cp>While I’m undoubtedly a child of the Bay Area, my mother was raised in Detroit. It’s her stories about the makings of Motown (including Barry Gordy’s ill-conceived idea to pass on Aretha in favor of her sister Carol Franklin), and her retelling of how her great aunt watched a young Aretha sing in her father’s church on Sunday mornings, that almost make me feel like Aretha was a part of our family. Her music, her voice, her implicit understanding… she was always \u003cem>there\u003c/em>.\u003c/p>\n\u003cp>Today, still processing the news of her death, I’m sad—and a little ashamed. For it’s only today that I realize how much I’ve taken the undisputed Queen of Soul for granted. For all the glorious spectrum of emotion she gifted me, I expected even more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let it be told: Aretha gave us more than enough. May she forever remain the moderator of feelings, for young girls and grown women alike, and may her majesty attain immortality.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trying to recall the first time I heard the voice of Aretha Franklin is like trying to recall when I first noticed the sky.\u003c/p>\n\u003cp>From the time I could crawl across our green shag carpet at our home in Oakland’s Fruitvale District, I can recall rummaging through the dual polished mahogany cabinets in our home that served as a treasure chest for my mother’s LPs and 45s. I’d flip through cardboard sleeves covered with the faces of Teddy, Tina, Isaac, James, Diana and Smokey, an act that would often evoke a \u003cem>“girl, you don’t know nothin’ about this,”\u003c/em> followed by a brief history lesson from by mother and grandmother, culminating in a decadent sampling of music.\u003c/p>\n\u003cp>Many names were exalted. But I came to understand that there was only one queen.\u003c/p>\n\u003cp>Saturday mornings were reserved for her. As I partook in the weekly ritual of morning chores, Aretha’s voice would pour over my soul like warm honey, transforming my pajamas and headscarf into an ornate ball gown and elaborate bouffant. Broom sticks became makeshift mic stands. And, for a few minutes, the voice overpowering the faint crackle of the spinning 45 belonged to me. A child of the ’80s, born to a daughter of Detroit, I demanded R-E-S-P-E-C-T when I was still learning to spell, I was feeling like a natural woman before I hit puberty, and I vowed I’d never be in someone’s chain of fools before I ever went on a date.\u003c/p>\n\u003cfigure id=\"attachment_13839193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg\" alt=\"Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1200x845.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California. \u003ccite>(Jesse Grant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I matured, my fascination for the family’s old records would give way to the novelty of compact discs, new jack swing, R&B and neo-soul. But Aretha’s indelible impact couldn’t be erased. I’d find myself craving her voice when modern music failed to take me to the places only Aretha could reach. And as I grew older and aged into love and romance, I discovered new dimensions to her music. The urgency of her plea on “Call Me,” articulating feelings of longing I’d had yet to experience. The eternal truth of “(You Make Me Feel Like) A Natural Woman,” which took on an entirely new meaning once I crossed the threshold into womanhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whenever I thought my adoration for Aretha had diminished, she’d resurface and stir my soul in a way only she could. She’d translate emotions from a pivotal film in my youth, \u003cem>Waiting to Exhale\u003c/em>. She’d collaborate with my then-favorite artist Lauryn Hill on her album \u003cem>A Rose is Still A Rose\u003c/em>.\u003c/p>\n\u003cp>And at Barack Obama’s 2009 inauguration, her presence on the Capitol steps that morning meant that a piece of me was there onstage beside America’s first black president.\u003c/p>\n\u003cp>While other artists from her generation struggled to reinvent themselves and connect with a younger audience, Aretha never wavered from the confidence of her throne. Hers was a gift that required no embellishment or novelty; even when she was called to \u003ca href=\"https://www.youtube.com/watch?v=KBCWLhlJV0Y\" target=\"_blank\" rel=\"noopener noreferrer\">duet with a contemporary pop star\u003c/a>, it rarely felt forced. She forged a deep bond with anyone who heard her voice, the power to distill pain, joy and unfiltered soul into every word she sung.\u003c/p>\n\u003cfigure id=\"attachment_13839194\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg\" alt=\"The single for 'It Hurts Like Hell' from the film 'Waiting to Exhale.'\" width=\"617\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-520x498.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-32x32.jpg 32w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">The single for ‘It Hurts Like Hell’ from the film ‘Waiting to Exhale.’\u003c/figcaption>\u003c/figure>\n\u003cp>While I’m undoubtedly a child of the Bay Area, my mother was raised in Detroit. It’s her stories about the makings of Motown (including Barry Gordy’s ill-conceived idea to pass on Aretha in favor of her sister Carol Franklin), and her retelling of how her great aunt watched a young Aretha sing in her father’s church on Sunday mornings, that almost make me feel like Aretha was a part of our family. Her music, her voice, her implicit understanding… she was always \u003cem>there\u003c/em>.\u003c/p>\n\u003cp>Today, still processing the news of her death, I’m sad—and a little ashamed. For it’s only today that I realize how much I’ve taken the undisputed Queen of Soul for granted. For all the glorious spectrum of emotion she gifted me, I expected even more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let it be told: Aretha gave us more than enough. May she forever remain the moderator of feelings, for young girls and grown women alike, and may her majesty attain immortality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aretha Franklin, the queen of soul and 20th century pop titan who died Thursday at home in Detroit, had a special connection to the Bay Area’s radical history. \u003c/p>\n\u003cp>Franklin, whose “Respect” became a civil-rights anthem, connected with the Black Power movement in the Bay Area. In a 1971 \u003cem>Jet\u003c/em> magazine interview, she offered to pay the bail of Angela Davis, then imprisoned after eluding arrest for alleged ties to a courtroom escape-turned-shootout in Marin. \u003c/p>\n\u003cp>“Angela Davis must go free,” Franklin said. “Black people will be free. I’ve been locked up… and I know you got to disturb the peace when you can’t get no peace. Jail is hell to be in. I’m going to see her free if there is any justice in our courts, not because I believe in communism, but because she’s a black woman and she wants freedom for black people. I have the money; I got it from black people.”\u003c/p>\n\u003cp>Franklin noted that her father, the preacher C.L. Franklin, did not approve of her position. “Well, I respect him, of course,” she said, “but I’m going to stick by my beliefs. Angela Davis must go free. Black people will be free.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">Aretha Franklin in a December 1970 issue of Jet Magazine, on why she was willing to post bond for Angela Davis. \u003ca href=\"https://t.co/UN7at4MiyD\">pic.twitter.com/UN7at4MiyD\u003c/a>\u003c/p>\n\u003cp>— Jacobin (@jacobinmag) \u003ca href=\"https://twitter.com/jacobinmag/status/1030117996138823680?ref_src=twsrc%5Etfw\">August 16, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>The next year, Franklin wrote a letter to Black Panther Party Minister of Culture Emory Douglas, expressing her regret that due to timing issues, she couldn’t appear at a fundraiser for the Oakland-headquartered organization. “I love what you are doing in the community, and I am looking forward to meeting all of you,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am also gratified that you thought enough to write and let me know your feelings, as once in a while one feels so inadequate in this business and wonders if people really feel we have talent or not and if that talent brings a smile or so from those we try to reach.” \u003c/p>\n\u003cp>Davis \u003ca href=\"https://www.thenation.com/article/aretha-franklin-musical-genius-truth-teller-freedom-fighter/\" rel=\"noopener noreferrer\" target=\"_blank\">told \u003cem>The Nation\u003c/em> \u003c/a>this week that Franklin was among her most high-profile supporters. “Her bold public call for justice in my case helped in a major way to consolidate the international campaign for my freedom,” Davis said.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\">\n\u003cp lang=\"en\" dir=\"ltr\">just found this mind blowingly humble letter from Aretha Franklin to Emory Douglas, Minster of Culture for Culture of the Black Panther Party while doing some archival digging: “Once in a while one feels so inadequate in this business” \u003ca href=\"https://t.co/tGh7FXTMxT\">pic.twitter.com/tGh7FXTMxT\u003c/a>\u003c/p>\n\u003cp>— your friend jeff (@muttgomery) \u003ca href=\"https://twitter.com/muttgomery/status/1029045575423942656?ref_src=twsrc%5Etfw\">August 13, 2018\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Franklin’s connection to the Bay Area was also cemented in her concert appearances over the decades.\u003c/p>\n\u003cp>As a teenager in the 1950s, Franklin performed at the Oakland Civic Auditorium (later named for industrialist Henry J. Kaiser) as part of a gospel revue led by her father. The event, promoted by Mel Reid of \u003ca href=\"https://www.npr.org/sections/therecord/2010/10/06/130376601/reid-s-records-65-years-of-family-owned-gospel\" rel=\"noopener noreferrer\" target=\"_blank\">Reid’s Records\u003c/a> in Berkeley, yielded her classic recording, “\u003ca href=\"https://www.youtube.com/watch?v=korCFV2etT8\">Precious Lord, Parts 1 and 2\u003c/a>.” In 1967, after making her San Francisco debut at the Jazz Workshop in North Beach, she returned to the Oakland Civic Auditorium as a headliner near the height of her secular stardom. \u003c/p>\n\u003cp>(Franklin has a plaque on the West Oakland Blues of Walk of Fame commemorating artists who performed on 7th Street, but in a 2015 \u003ca href=\"http://www.oaklandpost.org/2015/08/04/queen-soul-aretha-franklin-returns-oakland/\">interview\u003c/a> with the \u003cem>Oakland Post\u003c/em>, she claimed she never played Esther’s Orbit Room, as some have said.) \u003c/p>\n\u003cp>In 1971, storied promoter Bill Graham brought her to his Fillmore West in San Francisco for three nights, a recording of which was released on Atlantic Records that year as \u003cem>Live at Fillmore West\u003c/em>. Album highlights include her crossover covers of Simon & Garfunkel and Beatles, done as stomping, gospel-tinged funk, and a 19-minute duet, “Spirit in the Dark,” with surprise guest Ray Charles. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Franklin performed several times at the Circle Star Theater in Santa Clara, but between the years 1978 and 2014, a fear of flying kept Franklin from performing in the Bay Area entirely. She finally returned after nearly four decades for a concert at the Oracle Arena.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Queen of Soul’ Aretha Franklin Dies at 76 | KQED",
"content": "\u003cp>Aretha Franklin, the undisputed “Queen of Soul” who sang with matchless style on such classics as “Think,” “I Say a Little Prayer” and her signature song, “Respect,” and stood as a cultural icon around the globe, has died at age 76 from pancreatic cancer.\u003c/p>\n\u003cp>Publicist Gwendolyn Quinn tells The Associated Press through a family statement that Franklin died Thursday at 9:50 a.m. at her home in Detroit. The statement said “Franklin’s official cause of death was due to advanced pancreatic cancer of the neuroendocrine type, which was confirmed by Franklin’s oncologist, Dr. Philip Phillips of Karmanos Cancer Institute” in Detroit.\u003c/p>\n\u003cp>The family added: “In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds.”\u003c/p>\n\u003cp>The statement continued:\u003c/p>\n\u003cp>“We have been deeply touched by the incredible outpouring of love and support we have received from close friends, supporters and fans all around the world. Thank you for your compassion and prayers. We have felt your love for Aretha and it brings us comfort to know that her legacy will live on. As we grieve, we ask that you respect our privacy during this difficult time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Funeral arrangements will be announced in the coming days.\u003c/p>\n\u003cp>Franklin, who had battled undisclosed health issues in recent years, had in 2017 announced her retirement from touring.\u003c/p>\n\u003cfigure id=\"attachment_13839132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg\" alt='Aretha Franklin performs onstage during the \"Clive Davis: The Soundtrack of Our Lives\" Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13839132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin performs onstage during the “Clive Davis: The Soundtrack of Our Lives” Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. \u003ccite>(Noam Galai/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A professional singer and accomplished pianist by her late teens, a superstar by her mid-20s, Franklin had long ago settled any arguments over who was the greatest popular vocalist of her time. Her gifts, natural and acquired, were a multi-octave mezzo-soprano, gospel passion and training worthy of a preacher’s daughter, taste sophisticated and eccentric, and the courage to channel private pain into liberating song.\u003c/p>\n\u003cp>She recorded hundreds of tracks and had dozens of hits over the span of a half century, including 20 that reached No. 1 on the R&B charts. But her reputation was defined by an extraordinary run of top 10 smashes in the late 1960s, from the morning-after bliss of “(You Make Me Feel Like) A Natural Woman,” to the wised-up “Chain of Fools” to her unstoppable call for “Respect.”\u003c/p>\n\u003cp>Her records sold millions of copies and the music industry couldn’t honor her enough. Franklin won 18 Grammy awards. In 1987, she became the first woman inducted into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>Clive Davis, the music mogul who brought her to Arista Records and helped revive her career in the 1980s, said he was “devastated” by her death.\u003c/p>\n\u003cp>“She was truly one of a kind. She was more than the Queen of Soul. She was a national treasure to be cherished by every generation throughout the world,” he said in a statement. “Apart from our long professional relationship, Aretha was my friend. Her loss is deeply profound and my heart is full of sadness.”\u003c/p>\n\u003cp>Fellow singers bowed to her eminence and political and civic leaders treated her as a peer. The Rev. Martin Luther King Jr. was a longtime friend, and she sang at the dedication of King’s memorial, in 2011. She performed at the inaugurations of Presidents Bill Clinton and Jimmy Carter, and at the funeral for civil rights pioneer Rosa Parks. Clinton gave Franklin the National Medal of Arts. President George W. Bush awarded her the Presidential Medal of Freedom, the nation’s highest civilian honor, in 2005.\u003c/p>\n\u003cp>Bill and Hillary Clinton issued a statement mourning the loss of their friend and “one of America’s greatest treasures.”\u003c/p>\n\u003cp>“For more than 50 years, she stirred our souls. She was elegant, graceful, and utterly uncompromising in her artistry. Aretha’s first music school was the church and her performances were powered by what she learned there. I’ll always be grateful for her kindness and support, including her performances at both my inaugural celebrations, and for the chance to be there for what sadly turned out to be her final performance last November at a benefit supporting the fight against HIV/AIDS.”\u003c/p>\n\u003cp>Franklin’s best-known appearance with a president was in January 2009, when she sang “My Country ’tis of Thee” at President Barack Obama’s inauguration. She wore a gray felt hat with a huge, Swarovski rhinestone-bordered bow that became an Internet sensation and even had its own website. In 2015, she brought Obama and others to tears with a triumphant performance of “Natural Woman” at a Kennedy Center tribute to the song’s co-writer, Carole King.\u003c/p>\n\u003cp>Franklin endured the exhausting grind of celebrity and personal troubles dating back to childhood. She was married from 1961 to 1969 to her manager, Ted White, and their battles are widely believed to have inspired her performances on several songs, including “(Sweet Sweet Baby) Since You’ve Been Gone,” ″Think” and her heartbreaking ballad of despair, “Ain’t No Way.” The mother of two sons by age 16 (she later had two more), she was often in turmoil as she struggled with her weight, family problems and financial predicaments. Her best known producer, Jerry Wexler, nicknamed her “Our Lady of Mysterious Sorrows.”\u003c/p>\n\u003cp>https://youtu.be/Vyx34kgHGng\u003c/p>\n\u003cp>Franklin married actor Glynn Turman in 1978 in Los Angeles but returned to her hometown of Detroit the following year after her father was shot by burglars and left semi-comatose until his death in 1984. She and Turman divorced that year.\u003c/p>\n\u003cp>Despite growing up in Detroit, and having Smokey Robinson as a childhood friend, Franklin never recorded for Motown Records; stints with Columbia and Arista were sandwiched around her prime years with Atlantic Records. But it was at Detroit’s New Bethel Baptist Church, where her father was pastor, that Franklin learned the gospel fundamentals that would make her a soul institution.\u003c/p>\n\u003cp>Aretha Louise Franklin was born March 25, 1942, in Memphis, Tennessee. The Rev. C.L. Franklin soon moved his family to Buffalo, New York, then to Detroit, where the Franklins settled after the marriage of Aretha’s parents collapsed and her mother (and reputed sound-alike) Barbara returned to Buffalo.\u003c/p>\n\u003cp>C.L. Franklin was among the most prominent Baptist ministers of his time. He recorded dozens of albums of sermons and music and knew such gospel stars as Marion Williams and Clara Ward, who mentored Aretha and her sisters Carolyn and Erma. (Both sisters sang on Aretha’s records, and Carolyn also wrote “Ain’t No Way” and other songs for Aretha). Music was the family business and performers from Sam Cooke to Lou Rawls were guests at the Franklin house. In the living room, the shy young Aretha awed friends with her playing on the grand piano.\u003c/p>\n\u003cp>Franklin occasionally performed at New Bethel Baptist throughout her career; her 1987 gospel album “One Lord One Faith One Baptism” was recorded live at the church.\u003c/p>\n\u003cp>Her most acclaimed gospel recording came in 1972 with the Grammy-winning album “Amazing Grace,” which was recorded live at New Temple Missionary Baptist Church in South Central Los Angeles and featured gospel legend James Cleveland, along with her own father (Mick Jagger was one of the celebrities in the audience). It became one of of the best-selling gospel albums ever.\u003c/p>\n\u003cp>The piano she began learning at age 8 became a jazzy component of much of her work, including arranging as well as songwriting. “If I’m writing and I’m producing and singing, too, you get more of me that way, rather than having four or five different people working on one song,” Franklin told The Detroit News in 2003.\u003c/p>\n\u003cp>Franklin was in her early teens when she began touring with her father, and she released a gospel album in 1956 through J-V-B Records. Four years later, she signed with Columbia Records producer John Hammond, who called Franklin the most exciting singer he had heard since a vocalist he promoted decades earlier, Billie Holiday. Franklin knew Motown founder Berry Gordy Jr. and considered joining his label, but decided it was just a local company at the time.\u003c/p>\n\u003cp>Franklin recorded several albums for Columbia Records over the next six years. She had a handful of minor hits, including “Rock-A-Bye Your Baby With a Dixie Melody” and “Runnin’ Out of Fools,” but never quite caught on as the label tried to fit into her a variety of styles, from jazz and show songs to such pop numbers as “Mockingbird.” Franklin jumped to Atlantic Records when her contract ran out, in 1966.\u003c/p>\n\u003cp>“But the years at Columbia also taught her several important things,” critic Russell Gersten later wrote. “She worked hard at controlling and modulating her phrasing, giving her a discipline that most other soul singers lacked. She also developed a versatility with mainstream music that gave her later albums a breadth that was lacking on Motown LPs from the same period.\u003c/p>\n\u003cp>“Most important, she learned what she didn’t like: to do what she was told to do.”\u003c/p>\n\u003cp>At Atlantic, Wexler teamed her with veteran R&B musicians from Fame Studios in Muscle Shoals, and the result was a tougher, soulful sound, with call-and-response vocals and Franklin’s gospel-style piano, which anchored “I Say a Little Prayer,” ″Natural Woman” and others.\u003c/p>\n\u003cp>https://youtu.be/n0POmdK18WU\u003c/p>\n\u003cp>Of Franklin’s dozens of hits, none was linked more firmly to her than the funky, horn-led march “Respect” and its spelled out demand for “R-E-S-P-E-C-T.”\u003c/p>\n\u003cp>Writing in Rolling Stone magazine in 2004, Wexler said: “It was an appeal for dignity combined with a blatant lubricity. There are songs that are a call to action. There are love songs. There are sex songs. But it’s hard to think of another song where all those elements are combined.”\u003c/p>\n\u003cp>Franklin had decided she wanted to “embellish” the R&B song written by Otis Redding, whose version had been a modest hit in 1965, Wexler said.\u003c/p>\n\u003cp>“When she walked into the studio, it was already worked out in her head,” the producer wrote. “Otis came up to my office right before ‘Respect’ was released, and I played him the tape. He said, ‘She done took my song.’ He said it benignly and ruefully. He knew the identity of the song was slipping away from him to her.”\u003c/p>\n\u003cp>In a 2004 interview with the St. Petersburg (Florida) Times, Franklin was asked whether she sensed in the ’60s that she was helping change popular music.\u003c/p>\n\u003cp>“Somewhat, certainly with ‘Respect,’ that was a battle cry for freedom and many people of many ethnicities took pride in that word,” she answered. “It was meaningful to all of us.”\u003c/p>\n\u003cp>In 1968, Franklin was pictured on the cover of Time magazine and had more than 10 Top 20 hits in 1967 and 1968. At a time of rebellion and division, Franklin’s records were a musical union of the church and the secular, man and woman, black and white, North and South, East and West. They were produced and engineered by New Yorkers Wexler and Tom Dowd, arranged by Turkish-born Arif Mardin and backed by an interracial assembly of top session musicians based mostly in Alabama.\u003c/p>\n\u003cp>Her popularity faded during the 1970s despite such hits as the funky “Rock Steady” and such acclaimed albums as the intimate “Spirit in the Dark.” But her career was revived in 1980 with a cameo appearance in the smash movie “The Blues Brothers” and her switch to Arista Records. Franklin collaborated with such pop and soul artists as Luther Vandross, Elton John, Whitney Houston and George Michael, with whom she recorded a No. 1 single, “I Knew You Were Waiting (for Me).” Her 1985 album “Who’s Zoomin’ Who” received some of her best reviews and included such hits as the title track and “Freeway of Love.”\u003c/p>\n\u003cp>Critics consistently praised Franklin’s singing but sometimes questioned her material; she covered songs by Stephen Sondheim, Bread, the Doobie Brothers. For Aretha, anything she performed was “soul.”\u003c/p>\n\u003cp>From her earliest recording sessions at Columbia, when she asked to sing “Over the Rainbow,” she defied category. The 1998 Grammys gave her a chance to demonstrate her range. Franklin performed “Respect,” then, with only a few minutes’ notice, filled in for an ailing Luciano Pavarotti and drew rave reviews for her rendition of “Nessun Dorma,” a stirring aria for tenors from Puccini’s “Turandot.”\u003c/p>\n\u003cp>“I’m sure many people were surprised, but I’m not there to prove anything,” Franklin told The Associated Press. “Not necessary.”\u003c/p>\n\u003cp>Fame never eclipsed Franklin’s charitable works, or her loyalty to Detroit.\u003c/p>\n\u003cp>Franklin sang the national anthem at Super Bowl in her hometown in 2006, after grousing that Detroit’s rich musical legacy was being snubbed when the Rolling Stones were chosen as halftime performers.\u003c/p>\n\u003cp>“I didn’t think there was enough (Detroit representation) by any means,” she said. “And it was my feeling, ‘How dare you come to Detroit, a city of legends — musical legends, plural — and not ask one or two of them to participate?’ That’s not the way it should be.”\u003c/p>\n\u003cp>Franklin did most of her extensive touring by bus after Redding’s death in a 1967 plane crash, and a rough flight to Detroit in 1982 left her with a fear of flying that anti-anxiety tapes and classes couldn’t help. She told Time in 1998 that the custom bus was a comfortable alternative: “You can pull over, go to Red Lobster. You can’t pull over at 35,000 feet.”\u003c/p>\n\u003cp>She only released a few albums over the past two decades, including “A Rose is Still a Rose,” which featured songs by Sean “Diddy” Combs, Lauryn Hill and other contemporary artists, and “So Damn Happy,” for which Franklin wrote the gratified title ballad. Franklin’s autobiography, “Aretha: From These Roots,” came out in 1999, when she was in her 50s. But she always made it clear that her story would continue.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Music is my thing, it’s who I am. I’m in it for the long run,” she told The Associated Press in 2008. “I’ll be around, singing, ‘What you want, baby I got it.’ Having fun all the way.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aretha Franklin, the undisputed “Queen of Soul” who sang with matchless style on such classics as “Think,” “I Say a Little Prayer” and her signature song, “Respect,” and stood as a cultural icon around the globe, has died at age 76 from pancreatic cancer.\u003c/p>\n\u003cp>Publicist Gwendolyn Quinn tells The Associated Press through a family statement that Franklin died Thursday at 9:50 a.m. at her home in Detroit. The statement said “Franklin’s official cause of death was due to advanced pancreatic cancer of the neuroendocrine type, which was confirmed by Franklin’s oncologist, Dr. Philip Phillips of Karmanos Cancer Institute” in Detroit.\u003c/p>\n\u003cp>The family added: “In one of the darkest moments of our lives, we are not able to find the appropriate words to express the pain in our heart. We have lost the matriarch and rock of our family. The love she had for her children, grandchildren, nieces, nephews, and cousins knew no bounds.”\u003c/p>\n\u003cp>The statement continued:\u003c/p>\n\u003cp>“We have been deeply touched by the incredible outpouring of love and support we have received from close friends, supporters and fans all around the world. Thank you for your compassion and prayers. We have felt your love for Aretha and it brings us comfort to know that her legacy will live on. As we grieve, we ask that you respect our privacy during this difficult time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Funeral arrangements will be announced in the coming days.\u003c/p>\n\u003cp>Franklin, who had battled undisclosed health issues in recent years, had in 2017 announced her retirement from touring.\u003c/p>\n\u003cfigure id=\"attachment_13839132\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg\" alt='Aretha Franklin performs onstage during the \"Clive Davis: The Soundtrack of Our Lives\" Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. ' width=\"800\" height=\"534\" class=\"size-medium wp-image-13839132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GettyImages-670445552-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin performs onstage during the “Clive Davis: The Soundtrack of Our Lives” Premiere Concert during the 2017 Tribeca Film Festival at Radio City Music Hall on April 19, 2017 in New York City. \u003ccite>(Noam Galai/Getty Images for Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A professional singer and accomplished pianist by her late teens, a superstar by her mid-20s, Franklin had long ago settled any arguments over who was the greatest popular vocalist of her time. Her gifts, natural and acquired, were a multi-octave mezzo-soprano, gospel passion and training worthy of a preacher’s daughter, taste sophisticated and eccentric, and the courage to channel private pain into liberating song.\u003c/p>\n\u003cp>She recorded hundreds of tracks and had dozens of hits over the span of a half century, including 20 that reached No. 1 on the R&B charts. But her reputation was defined by an extraordinary run of top 10 smashes in the late 1960s, from the morning-after bliss of “(You Make Me Feel Like) A Natural Woman,” to the wised-up “Chain of Fools” to her unstoppable call for “Respect.”\u003c/p>\n\u003cp>Her records sold millions of copies and the music industry couldn’t honor her enough. Franklin won 18 Grammy awards. In 1987, she became the first woman inducted into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>Clive Davis, the music mogul who brought her to Arista Records and helped revive her career in the 1980s, said he was “devastated” by her death.\u003c/p>\n\u003cp>“She was truly one of a kind. She was more than the Queen of Soul. She was a national treasure to be cherished by every generation throughout the world,” he said in a statement. “Apart from our long professional relationship, Aretha was my friend. Her loss is deeply profound and my heart is full of sadness.”\u003c/p>\n\u003cp>Fellow singers bowed to her eminence and political and civic leaders treated her as a peer. The Rev. Martin Luther King Jr. was a longtime friend, and she sang at the dedication of King’s memorial, in 2011. She performed at the inaugurations of Presidents Bill Clinton and Jimmy Carter, and at the funeral for civil rights pioneer Rosa Parks. Clinton gave Franklin the National Medal of Arts. President George W. Bush awarded her the Presidential Medal of Freedom, the nation’s highest civilian honor, in 2005.\u003c/p>\n\u003cp>Bill and Hillary Clinton issued a statement mourning the loss of their friend and “one of America’s greatest treasures.”\u003c/p>\n\u003cp>“For more than 50 years, she stirred our souls. She was elegant, graceful, and utterly uncompromising in her artistry. Aretha’s first music school was the church and her performances were powered by what she learned there. I’ll always be grateful for her kindness and support, including her performances at both my inaugural celebrations, and for the chance to be there for what sadly turned out to be her final performance last November at a benefit supporting the fight against HIV/AIDS.”\u003c/p>\n\u003cp>Franklin’s best-known appearance with a president was in January 2009, when she sang “My Country ’tis of Thee” at President Barack Obama’s inauguration. She wore a gray felt hat with a huge, Swarovski rhinestone-bordered bow that became an Internet sensation and even had its own website. In 2015, she brought Obama and others to tears with a triumphant performance of “Natural Woman” at a Kennedy Center tribute to the song’s co-writer, Carole King.\u003c/p>\n\u003cp>Franklin endured the exhausting grind of celebrity and personal troubles dating back to childhood. She was married from 1961 to 1969 to her manager, Ted White, and their battles are widely believed to have inspired her performances on several songs, including “(Sweet Sweet Baby) Since You’ve Been Gone,” ″Think” and her heartbreaking ballad of despair, “Ain’t No Way.” The mother of two sons by age 16 (she later had two more), she was often in turmoil as she struggled with her weight, family problems and financial predicaments. Her best known producer, Jerry Wexler, nicknamed her “Our Lady of Mysterious Sorrows.”\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/Vyx34kgHGng'\n title='//www.youtube.com/embed/Vyx34kgHGng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Franklin married actor Glynn Turman in 1978 in Los Angeles but returned to her hometown of Detroit the following year after her father was shot by burglars and left semi-comatose until his death in 1984. She and Turman divorced that year.\u003c/p>\n\u003cp>Despite growing up in Detroit, and having Smokey Robinson as a childhood friend, Franklin never recorded for Motown Records; stints with Columbia and Arista were sandwiched around her prime years with Atlantic Records. But it was at Detroit’s New Bethel Baptist Church, where her father was pastor, that Franklin learned the gospel fundamentals that would make her a soul institution.\u003c/p>\n\u003cp>Aretha Louise Franklin was born March 25, 1942, in Memphis, Tennessee. The Rev. C.L. Franklin soon moved his family to Buffalo, New York, then to Detroit, where the Franklins settled after the marriage of Aretha’s parents collapsed and her mother (and reputed sound-alike) Barbara returned to Buffalo.\u003c/p>\n\u003cp>C.L. Franklin was among the most prominent Baptist ministers of his time. He recorded dozens of albums of sermons and music and knew such gospel stars as Marion Williams and Clara Ward, who mentored Aretha and her sisters Carolyn and Erma. (Both sisters sang on Aretha’s records, and Carolyn also wrote “Ain’t No Way” and other songs for Aretha). Music was the family business and performers from Sam Cooke to Lou Rawls were guests at the Franklin house. In the living room, the shy young Aretha awed friends with her playing on the grand piano.\u003c/p>\n\u003cp>Franklin occasionally performed at New Bethel Baptist throughout her career; her 1987 gospel album “One Lord One Faith One Baptism” was recorded live at the church.\u003c/p>\n\u003cp>Her most acclaimed gospel recording came in 1972 with the Grammy-winning album “Amazing Grace,” which was recorded live at New Temple Missionary Baptist Church in South Central Los Angeles and featured gospel legend James Cleveland, along with her own father (Mick Jagger was one of the celebrities in the audience). It became one of of the best-selling gospel albums ever.\u003c/p>\n\u003cp>The piano she began learning at age 8 became a jazzy component of much of her work, including arranging as well as songwriting. “If I’m writing and I’m producing and singing, too, you get more of me that way, rather than having four or five different people working on one song,” Franklin told The Detroit News in 2003.\u003c/p>\n\u003cp>Franklin was in her early teens when she began touring with her father, and she released a gospel album in 1956 through J-V-B Records. Four years later, she signed with Columbia Records producer John Hammond, who called Franklin the most exciting singer he had heard since a vocalist he promoted decades earlier, Billie Holiday. Franklin knew Motown founder Berry Gordy Jr. and considered joining his label, but decided it was just a local company at the time.\u003c/p>\n\u003cp>Franklin recorded several albums for Columbia Records over the next six years. She had a handful of minor hits, including “Rock-A-Bye Your Baby With a Dixie Melody” and “Runnin’ Out of Fools,” but never quite caught on as the label tried to fit into her a variety of styles, from jazz and show songs to such pop numbers as “Mockingbird.” Franklin jumped to Atlantic Records when her contract ran out, in 1966.\u003c/p>\n\u003cp>“But the years at Columbia also taught her several important things,” critic Russell Gersten later wrote. “She worked hard at controlling and modulating her phrasing, giving her a discipline that most other soul singers lacked. She also developed a versatility with mainstream music that gave her later albums a breadth that was lacking on Motown LPs from the same period.\u003c/p>\n\u003cp>“Most important, she learned what she didn’t like: to do what she was told to do.”\u003c/p>\n\u003cp>At Atlantic, Wexler teamed her with veteran R&B musicians from Fame Studios in Muscle Shoals, and the result was a tougher, soulful sound, with call-and-response vocals and Franklin’s gospel-style piano, which anchored “I Say a Little Prayer,” ″Natural Woman” and others.\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/n0POmdK18WU'\n title='//www.youtube.com/embed/n0POmdK18WU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Of Franklin’s dozens of hits, none was linked more firmly to her than the funky, horn-led march “Respect” and its spelled out demand for “R-E-S-P-E-C-T.”\u003c/p>\n\u003cp>Writing in Rolling Stone magazine in 2004, Wexler said: “It was an appeal for dignity combined with a blatant lubricity. There are songs that are a call to action. There are love songs. There are sex songs. But it’s hard to think of another song where all those elements are combined.”\u003c/p>\n\u003cp>Franklin had decided she wanted to “embellish” the R&B song written by Otis Redding, whose version had been a modest hit in 1965, Wexler said.\u003c/p>\n\u003cp>“When she walked into the studio, it was already worked out in her head,” the producer wrote. “Otis came up to my office right before ‘Respect’ was released, and I played him the tape. He said, ‘She done took my song.’ He said it benignly and ruefully. He knew the identity of the song was slipping away from him to her.”\u003c/p>\n\u003cp>In a 2004 interview with the St. Petersburg (Florida) Times, Franklin was asked whether she sensed in the ’60s that she was helping change popular music.\u003c/p>\n\u003cp>“Somewhat, certainly with ‘Respect,’ that was a battle cry for freedom and many people of many ethnicities took pride in that word,” she answered. “It was meaningful to all of us.”\u003c/p>\n\u003cp>In 1968, Franklin was pictured on the cover of Time magazine and had more than 10 Top 20 hits in 1967 and 1968. At a time of rebellion and division, Franklin’s records were a musical union of the church and the secular, man and woman, black and white, North and South, East and West. They were produced and engineered by New Yorkers Wexler and Tom Dowd, arranged by Turkish-born Arif Mardin and backed by an interracial assembly of top session musicians based mostly in Alabama.\u003c/p>\n\u003cp>Her popularity faded during the 1970s despite such hits as the funky “Rock Steady” and such acclaimed albums as the intimate “Spirit in the Dark.” But her career was revived in 1980 with a cameo appearance in the smash movie “The Blues Brothers” and her switch to Arista Records. Franklin collaborated with such pop and soul artists as Luther Vandross, Elton John, Whitney Houston and George Michael, with whom she recorded a No. 1 single, “I Knew You Were Waiting (for Me).” Her 1985 album “Who’s Zoomin’ Who” received some of her best reviews and included such hits as the title track and “Freeway of Love.”\u003c/p>\n\u003cp>Critics consistently praised Franklin’s singing but sometimes questioned her material; she covered songs by Stephen Sondheim, Bread, the Doobie Brothers. For Aretha, anything she performed was “soul.”\u003c/p>\n\u003cp>From her earliest recording sessions at Columbia, when she asked to sing “Over the Rainbow,” she defied category. The 1998 Grammys gave her a chance to demonstrate her range. Franklin performed “Respect,” then, with only a few minutes’ notice, filled in for an ailing Luciano Pavarotti and drew rave reviews for her rendition of “Nessun Dorma,” a stirring aria for tenors from Puccini’s “Turandot.”\u003c/p>\n\u003cp>“I’m sure many people were surprised, but I’m not there to prove anything,” Franklin told The Associated Press. “Not necessary.”\u003c/p>\n\u003cp>Fame never eclipsed Franklin’s charitable works, or her loyalty to Detroit.\u003c/p>\n\u003cp>Franklin sang the national anthem at Super Bowl in her hometown in 2006, after grousing that Detroit’s rich musical legacy was being snubbed when the Rolling Stones were chosen as halftime performers.\u003c/p>\n\u003cp>“I didn’t think there was enough (Detroit representation) by any means,” she said. “And it was my feeling, ‘How dare you come to Detroit, a city of legends — musical legends, plural — and not ask one or two of them to participate?’ That’s not the way it should be.”\u003c/p>\n\u003cp>Franklin did most of her extensive touring by bus after Redding’s death in a 1967 plane crash, and a rough flight to Detroit in 1982 left her with a fear of flying that anti-anxiety tapes and classes couldn’t help. She told Time in 1998 that the custom bus was a comfortable alternative: “You can pull over, go to Red Lobster. You can’t pull over at 35,000 feet.”\u003c/p>\n\u003cp>She only released a few albums over the past two decades, including “A Rose is Still a Rose,” which featured songs by Sean “Diddy” Combs, Lauryn Hill and other contemporary artists, and “So Damn Happy,” for which Franklin wrote the gratified title ballad. Franklin’s autobiography, “Aretha: From These Roots,” came out in 1999, when she was in her 50s. But she always made it clear that her story would continue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sayhername-10-illustrated-tributes-to-nia-wilson-lighting-up-social-media",
"title": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media",
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"headTitle": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media | KQED",
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"content": "\u003cp>In the days since 18-year-old Nia Wilson was slain in Oakland, Bay Area artists have taken up their pens to honor her memory. With hand-drawn illustrations, digital collages and mixed media works, artists from Oakland and San Francisco have demanded justice and called to #SayHerName.\u003c/p>\n\u003cp>“Hearts are destroyed here in Oakland and all over,” write Victoria Emanuela and Caitie Metz, co-founders of feminist press \u003ca href=\"https://www.onbeinginyourbody.com/\">On Being In Your Body\u003c/a>. “Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia.”\u003c/p>\n\u003cp>Some have spoken up through their art, while others have taken to the streets. What unites them is an enduring need to honor Wilson, the teenage girl from Oakland \u003ca href=\"https://www.nytimes.com/2018/07/25/us/nia-wilson-bart-stabbing.html\" target=\"_blank\" rel=\"noopener\">with big dreams\u003c/a> who died while helping a stranger on the BART train.\u003c/p>\n\u003cp>Below, find 10 tributes to Nia Wilson by Bay Area artists.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/broobs.psd/\" target=\"_blank\" rel=\"noopener\">@broobs.psd\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837811 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/broobs-800.jpg\" alt=\"'Nia Wilson' by Ruben Guadalupe Marquez (@broobs.psd)\" width=\"800\" height=\"914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-768x877.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-240x274.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-375x428.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-520x594.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nia Wilson’ by Ruben Guadalupe Marquez (@broobs.psd)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/girasoulll/\" target=\"_blank\" rel=\"noopener\">@girasoull\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blqd77jBZ4q/?taken-by=girasoulll\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837812 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg\" alt='\"Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel 🙏🏽 I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love🌻\" — Francis (@girasoulll)' width=\"800\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-768x657.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-375x321.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-520x445.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love.” — Francis (@girasoulll)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/onbeinginyourbody/\" target=\"_blank\" rel=\"noopener\">@onbeinginyourbody\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Bln_qQNnVHC/?taken-by=onbeinginyourbody\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837810 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg\" alt='\"Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia\" — @onbeinginyourbody feminist press' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia” — @onbeinginyourbody feminist press\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lady_luuz/\" target=\"_blank\" rel=\"noopener\">@lady_luuz\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlrInvOAEEQ/?taken-by=alenamuseum\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837817 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg\" alt='\"Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!\" — Alena Museum Artwork by @lady_luuz' width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-520x649.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!” — Ale\u003cem>ń\u003c/em>a Culture Collective (Artwork by @lady_luuz)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/dimebagdarla/\" target=\"_blank\" rel=\"noopener\">@dimebagdarla\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BllvEzPHkscht-FDEmPIPILIBzDZmTZ1Nbw5qM0/?taken-by=dimebagdarla\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg\" alt='\"Made this for u nia.\" — @dimebagdarla' width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Made this for u nia.” — @dimebagdarla\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/paintpimp215/\" target=\"_blank\" rel=\"noopener\">@paintpimp215\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlnFyGpAvNU/?taken-by=paintpimp215\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837808 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg\" alt=\"'Nia Wilson' by Jay Pee (@paintpimp215)\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">#niawilson #bart #bayarea #oakland #thisisamerica #artlife #copic #pen #blackgirlsmatter ‘Nia Wilson’ by Jay Pee (@paintpimp215)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/sarahgreenstudio/\" target=\"_blank\" rel=\"noopener\">@sarahgreenstudio\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmZDibAMpB/?taken-by=sarahgreenstudio\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837813 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg\" alt=\""A caption doesn't really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area's public transportation." — Sarah Green Studio \" width=\"800\" height=\"899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-768x863.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-240x270.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-375x421.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-520x584.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“A caption doesn’t really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area’s public transportation.” — Sarah Green Studio\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/shespeakseasy/\" target=\"_blank\" rel=\"noopener\">@shespeakseasy\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlqX2DblN1q/?taken-by=shespeakseasy\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837814 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg\" alt='\"The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.\" — Rachel Frankel (@shespeakeasy)' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.” — Rachel Frankel (@shespeakseasy)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lostboyillustrations/\" target=\"_blank\" rel=\"noopener\">@lostboyillustrations\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmGkDnFE-f/?taken-by=lostboyillustrations\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837809 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg\" alt='\"No fucking words... #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove\" — Fin Lee (@lostboyillustrations)' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“No fucking words… #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove” — Fin Lee (@lostboyillustrations)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/kaylanijuanita/\" target=\"_blank\" rel=\"noopener\">@kaylanijuanita\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blm0PGagZyh/?taken-by=kaylanijuanita\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837807 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg\" alt=\""I'm not sure how I feel about everything. I want to know why he did it, but I know there's nothing he can say that will justify any of it. I'm just angry. And I know that we won't know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime. Artwork by Kaylani Juanita (@kaylanijuanita)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“I’m not sure how I feel about everything. I want to know why he did it, but I know there’s nothing he can say that will justify any of it. I’m just angry. And I know that we won’t know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime.” — Kaylani Juanita (@kaylanijuanita)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Bay Area artists have taken up their pens to honor Nia Wilson in these 10 tributes.",
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"title": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media | KQED",
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"headline": "#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the days since 18-year-old Nia Wilson was slain in Oakland, Bay Area artists have taken up their pens to honor her memory. With hand-drawn illustrations, digital collages and mixed media works, artists from Oakland and San Francisco have demanded justice and called to #SayHerName.\u003c/p>\n\u003cp>“Hearts are destroyed here in Oakland and all over,” write Victoria Emanuela and Caitie Metz, co-founders of feminist press \u003ca href=\"https://www.onbeinginyourbody.com/\">On Being In Your Body\u003c/a>. “Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia.”\u003c/p>\n\u003cp>Some have spoken up through their art, while others have taken to the streets. What unites them is an enduring need to honor Wilson, the teenage girl from Oakland \u003ca href=\"https://www.nytimes.com/2018/07/25/us/nia-wilson-bart-stabbing.html\" target=\"_blank\" rel=\"noopener\">with big dreams\u003c/a> who died while helping a stranger on the BART train.\u003c/p>\n\u003cp>Below, find 10 tributes to Nia Wilson by Bay Area artists.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/broobs.psd/\" target=\"_blank\" rel=\"noopener\">@broobs.psd\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837811 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/broobs-800.jpg\" alt=\"'Nia Wilson' by Ruben Guadalupe Marquez (@broobs.psd)\" width=\"800\" height=\"914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-160x183.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-768x877.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-240x274.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-375x428.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/broobs-800-520x594.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nia Wilson’ by Ruben Guadalupe Marquez (@broobs.psd)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/girasoulll/\" target=\"_blank\" rel=\"noopener\">@girasoull\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blqd77jBZ4q/?taken-by=girasoulll\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837812 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg\" alt='\"Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel 🙏🏽 I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love🌻\" — Francis (@girasoulll)' width=\"800\" height=\"684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-768x657.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-240x205.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-375x321.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/girasoul-800-520x445.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Love, protect and honor Black womxn because we far too beautiful for this world. Rest easy young #angel I pray your assassination and the continual violence our peoples endure all over the diaspora be met with stronger and deeper rebellion and love.” — Francis (@girasoulll)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/onbeinginyourbody/\" target=\"_blank\" rel=\"noopener\">@onbeinginyourbody\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837810\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Bln_qQNnVHC/?taken-by=onbeinginyourbody\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837810 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg\" alt='\"Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia\" — @onbeinginyourbody feminist press' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/onbeinginyourbody-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Hearts are destroyed here in Oakland and all over. Show up. Listen. Speak up. Don’t let your privilege sit on the sidelines and watch. Rest in power, Nia. #justicefornia” — @onbeinginyourbody feminist press\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lady_luuz/\" target=\"_blank\" rel=\"noopener\">@lady_luuz\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlrInvOAEEQ/?taken-by=alenamuseum\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837817 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg\" alt='\"Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!\" — Alena Museum Artwork by @lady_luuz' width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-375x468.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lady_luuz-800-520x649.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Mainstream media’s continued dehumanization of Black Lives by criminalizing them is White Supremacy!” — Ale\u003cem>ń\u003c/em>a Culture Collective (Artwork by @lady_luuz)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/dimebagdarla/\" target=\"_blank\" rel=\"noopener\">@dimebagdarla\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BllvEzPHkscht-FDEmPIPILIBzDZmTZ1Nbw5qM0/?taken-by=dimebagdarla\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg\" alt='\"Made this for u nia.\" — @dimebagdarla' width=\"800\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/dimebagdarla-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Made this for u nia.” — @dimebagdarla\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/paintpimp215/\" target=\"_blank\" rel=\"noopener\">@paintpimp215\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlnFyGpAvNU/?taken-by=paintpimp215\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837808 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg\" alt=\"'Nia Wilson' by Jay Pee (@paintpimp215)\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/paintpimp215-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">#niawilson #bart #bayarea #oakland #thisisamerica #artlife #copic #pen #blackgirlsmatter ‘Nia Wilson’ by Jay Pee (@paintpimp215)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/sarahgreenstudio/\" target=\"_blank\" rel=\"noopener\">@sarahgreenstudio\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837813\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmZDibAMpB/?taken-by=sarahgreenstudio\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837813 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg\" alt=\""A caption doesn't really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area's public transportation." — Sarah Green Studio \" width=\"800\" height=\"899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-160x180.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-768x863.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-240x270.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-375x421.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/sarahgreenstudio-800-520x584.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“A caption doesn’t really do it, but trying to help spread visibility for Nia, who was killed in a brutal racial hate crime Sunday night on the bay area’s public transportation.” — Sarah Green Studio\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/shespeakseasy/\" target=\"_blank\" rel=\"noopener\">@shespeakseasy\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837814\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlqX2DblN1q/?taken-by=shespeakseasy\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837814 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg\" alt='\"The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.\" — Rachel Frankel (@shespeakeasy)' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/shespeakeasy-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“The news of Nia Wilson’s death has been on my mind all week—it hit particularly close to home as MacArthur used to be my stop. This beautiful girl deserved to grow up and live a full life without the threat of white supremacy or hatred lurking over her shoulder. As her sister Letifah said, black women deserve to live freely, always.” — Rachel Frankel (@shespeakseasy)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/lostboyillustrations/\" target=\"_blank\" rel=\"noopener\">@lostboyillustrations\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/BlmGkDnFE-f/?taken-by=lostboyillustrations\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837809 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg\" alt='\"No fucking words... #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove\" — Fin Lee (@lostboyillustrations)' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-240x300.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-375x469.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/lostboyillustrations-800-520x650.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“No fucking words… #niawilson #SAYHERNAME #blacklivesmatter #oaklandlove” — Fin Lee (@lostboyillustrations)\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/kaylanijuanita/\" target=\"_blank\" rel=\"noopener\">@kaylanijuanita\u003c/a>:\u003c/h3>\n\u003cfigure id=\"attachment_13837807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://www.instagram.com/p/Blm0PGagZyh/?taken-by=kaylanijuanita\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13837807 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg\" alt=\""I'm not sure how I feel about everything. I want to know why he did it, but I know there's nothing he can say that will justify any of it. I'm just angry. And I know that we won't know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime. Artwork by Kaylani Juanita (@kaylanijuanita)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/kaylanijuanita-800-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“I’m not sure how I feel about everything. I want to know why he did it, but I know there’s nothing he can say that will justify any of it. I’m just angry. And I know that we won’t know his motives for sure until after the interrogation and investigation, but I really deep in my soul KNOW it was a hate crime.” — Kaylani Juanita (@kaylanijuanita)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "remembering-a-warriors-superhero-on-and-off-the-court",
"title": "Remembering a Warriors Superhero, On and Off the Court",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors are everywhere these days: the top of Tribune Tower illuminated in blue and gold, AC Transit buses with “Go Warriors” in the front digital display. Even the man pushing a cart past me last week wore a long Warriors banner tied around his neck and draped down his back, as if it were a cape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I walked past him and entered Halftime Sports Bar, where my best friend Jesus El sat. I knew he wasn’t doing well—the bar was nearly empty, and as I started to ask why he was watching the hockey game on the mounted TV, I realized he was staring blankly through the screen.\u003c/p>\n\u003cp>Jesus was mourning the death of a superhero.\u003c/p>\n\u003cp>Sadiki Fuller, the former Golden State Warriors mascot, had been found dead just a few days prior, leaving behind his mother, two biological sisters, and hundreds of fans who knew him as Thunder, the team’s high-flying mascot in blue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sadiki also left behind a number of younger people he’d mentored. Jesus was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13832829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832829\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png\" alt='Sadiki Fuller went from NBA mascot to standup comic without missing a beat. \"He had a gift,\" said former Houston Rockets mascot Jerry Burrell.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite.png 942w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller went from NBA mascot to standup comic without missing a beat. “He had a gift,” said former Houston Rockets mascot Jerry Burrell. \u003ccite>(via sadikifuller.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadiki had come into Jesus’ life with the same prescient timing that brought him into the Warriors’ organization—during a period when his talents, wisdom and uplifting spirit were most needed. During a time when the Warriors definitely were \u003cem>not\u003c/em> everywhere.\u003c/p>\n\u003cp>Jesus and Sadiki’s relationship was the stuff of mythological folklore; a chance meeting leads to a call to action, resulting in life-changing circumstances in which both emerge better for having traveled the journey together. Especially Jesus.\u003c/p>\n\u003cp>Last week when I sat down with Jesus at the bar, he summed it up by saying to me, “No one prepares you for your hero to die.”\u003c/p>\n\u003cfigure id=\"attachment_13832832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832832\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg\" alt=\"Thunder hitting a dunk for the fans outside the arena, 1990s.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thunder hitting a dunk for the fans outside the arena, 1990s. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>esus—or Zeus, as many people call him—was in elementary school when he first saw Thunder perform, watching in awe as the man in full-body spandex flew off a trampoline, hit flips and dunked basketballs with ease.\u003c/p>\n\u003cp>The next year, Zeus and Sadiki’s paths crossed again. Zeus, one of the millions of kids with an outlandish dream of becoming a superhero, asked the masked man how he could be like him. Sadiki, from behind the mesh face-wear, simply said, “Go to Head Over Heels.”\u003c/p>\n\u003cp>Zeus went home, found Head Over Heels under “Gyms” in the Yellow Pages, and called the number. The organization offered Zeus free gymnastics classes in exchange for working—cleaning everything from dishes to gym mats.\u003c/p>\n\u003cp>Zeus did that for a year, calling Thunder’s office number everyday along the way, just to tell him about his progress. Until one day, Thunder invited Zeus down to the Warriors headquarters.\u003c/p>\n\u003cp>Zeus didn’t know it at the time, but Sadiki Fuller was giving him something more than access to a professional NBA facility. He was passing down the torch of mentorship; unveiling the real path to becoming a superhero.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bi6EBLGnbBL/?taken-by=zeusdadunka\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple of days ago, I talked to Sadiki’s mother, Brenda Orr, who told me about his childhood in Houston, Texas. “His first love was gymnastics. He loved to flip, and do acrobatic things,” Orr told me. “He would teach all the kids in the neighborhood. He had his own gymnastics class on my front lawn; we could never grow grass because he was always flipping on it!”\u003c/p>\n\u003cp>On the conference call, including his two sisters, Aiisha and Jari, they told me story after story exemplifying Sadiki’s charisma and leadership.\u003c/p>\n\u003cp>“A couple of years ago, I had my 40th birthday. He showed up, and I was outside socializing,” said Aiisha. “By the time I realized he was there, all my friends were charmed by him. He told everyone he was hugger, and he went around and hugged each and every one of them.”\u003c/p>\n\u003cp>That charisma, charm and urge to uplift others is what made him standout, both socially and professionally. Jerry Burrell, former mascot for the Houston Rockets, says he first met Sadiki in 1994, when he was looking for guys to be a part of a dunk team—not just any dunk team, but a team of superheroes.\u003c/p>\n\u003cp>“He was tall and skinny, and didn’t look like a superhero, so I blew him off,” Burrell told me. “But he kept calling me.”\u003c/p>\n\u003cp>Burrell kept Sadiki as a backup dunker, but Sadiki soon got his time to shine. One day, as the team packed their belongings after a show at a high school, a crowd of people gathered to compliment them on their performance. Next thing Burrell knew, “(Sadiki) was making little kids balloon animals, and at one point he did a flip. He was tying it all together with funny anecdotes and references. He had them eating out of his hand,” said Burrell.\u003c/p>\n\u003cp>“I realized that I had gotten him wrong,” said Burrell, who quickly brought Sadiki onto his High Impact Squad. “It didn’t matter that he didn’t have the ‘superhero look.’ He had a gift.”\u003c/p>\n\u003cfigure id=\"attachment_13832828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg\" alt=\"Sadiki Fuller, always outgoing, twisting balloons on the court.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller, always outgoing, twisting balloons on the court. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors discovered Sadiki’s gift two years later, after the team abandoned a failed experiment with a mascot by the name of Berserker. A Warriors rep had caught wind of Sadiki’s talents, and brought him on board to play a new, more acrobatic mascot, named Thunder.\u003c/p>\n\u003cp>Sadiki would go on to dunk, flip and fly through the air at Warriors games, in schools and at social events for the next five years—a particularly downtrodden era for Warriors fandom. (As \u003ca href=\"https://www.nytimes.com/2016/03/30/sports/basketball/golden-state-warriors-mascot-thunder-sadiki-fuller.html\" target=\"_blank\" rel=\"noopener noreferrer\">a \u003cem>New York Times\u003c/em> piece on Sadiki\u003c/a> notes, the Warriors went 97-281 during his tenure.) But that didn’t matter to Sadiki. When he performed, he’d go all in. He’d breakdance at center court. He’d hit handstands, and while inverted, he’d kick his legs in rhythm to the music on the stadium’s PA system. Solely by using body language—his face shrouded by a mask—he’d convey excitement.\u003c/p>\n\u003cp>And of course, when it was time, he’d hit a trampoline that was held in place by his young assistant, Zeus, take to the sky like a rocket, and then come down while slamming the ball with the power of Shango—lighting up the Oracle with wild cheers.\u003c/p>\n\u003cp>https://twitter.com/warriors/status/997193788882866178\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n other words, Sadiki kept people smiling during the dark ages. He was the life of the party. And when he wasn’t on the court, hitting flips and uplifting spirits, he was busy forming his own dunk team—Team Thunder.\u003c/p>\n\u003cp>“He always told us his goal wasn’t to make us better dunkers or performers, but to make us better men,” said Eddie Johnson, one of the original members of Team Thunder. Johnson, who Sadiki recruited after seeing his Taekwondo performance at a Warriors game, dunked for years with Team Thunder—which eventually morphed into the Flying Dubs after the Seattle Supersonics rebranded themselves as the Oklahoma City Thunder.\u003c/p>\n\u003cp>In fact, the Supersonics’ name change had further impact: to avoid confusion, the Warriors decided to part ways with their mascot, Thunder. Sadiki took it as a sign to move to Los Angeles and pursue his dream of standup comedy, which he performed for the past 15 years with relative success (including one time he got to imitate Chris Rock—\u003ca href=\"https://www.youtube.com/watch?v=n-glDhAFLJA&feature=youtu.be&t=2m35s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>in front of\u003c/em> Chris Rock\u003c/a>).\u003c/p>\n\u003cp>But during his time flying through the air in Oakland for screaming fans, Sadiki quietly showed a handful of young men a better path in life.\u003c/p>\n\u003cfigure id=\"attachment_13832830\" class=\"wp-caption aligncenter\" style=\"max-width: 743px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832830\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg\" alt=\"Zeus teaches a new generation at Head Over Heels gym in Emeryville.\" width=\"743\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg 743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-150x150.jpg 150w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003cfigcaption class=\"wp-caption-text\">Zeus teaches a new generation at Head Over Heels gym in Emeryville. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although he never became an official NBA mascot himself, Zeus worked as the Oakland A’s mascot, Stomper, for a year. He’s also traveled the world by acro-dunking, performing at many NBA games as well as schools and youth centers. He’s earned a couple of plaques from the Guinness Book of World Records for acrobatic slam-dunking. And he even has a photo with Beyoncé from an NBA All-Star Game in Denver—his second-most major accomplishment, in my eyes.\u003c/p>\n\u003cp>His first, of course, is the long-running mentorship program he and other members of the Flying Dubs continue to run to this day, even after the Warriors discontinued their involvement with the dunk team a few seasons ago.\u003c/p>\n\u003cp>Johnson, now a father of four, focuses much of his time and energy on his family these days. But every once in a while, he makes the journey to Head Over Heels gymnasium in Emeryville, where his former dunk team teammate, Zeus, teaches young people the art of gymnastics, acrobatic slam dunking and life skills, for free. Giving them the same path he got from Sadiki years ago.\u003c/p>\n\u003cp>The path of a superhero.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "As Thunder, Sadiki Fuller gave fans hope—and, before his death this month, mentored a new generation of young men.",
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"title": "Remembering a Warriors Superhero, On and Off the Court | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors are everywhere these days: the top of Tribune Tower illuminated in blue and gold, AC Transit buses with “Go Warriors” in the front digital display. Even the man pushing a cart past me last week wore a long Warriors banner tied around his neck and draped down his back, as if it were a cape.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I walked past him and entered Halftime Sports Bar, where my best friend Jesus El sat. I knew he wasn’t doing well—the bar was nearly empty, and as I started to ask why he was watching the hockey game on the mounted TV, I realized he was staring blankly through the screen.\u003c/p>\n\u003cp>Jesus was mourning the death of a superhero.\u003c/p>\n\u003cp>Sadiki Fuller, the former Golden State Warriors mascot, had been found dead just a few days prior, leaving behind his mother, two biological sisters, and hundreds of fans who knew him as Thunder, the team’s high-flying mascot in blue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sadiki also left behind a number of younger people he’d mentored. Jesus was one of them.\u003c/p>\n\u003cfigure id=\"attachment_13832829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832829\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png\" alt='Sadiki Fuller went from NBA mascot to standup comic without missing a beat. \"He had a gift,\" said former Houston Rockets mascot Jerry Burrell.' width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-800x600.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-768x576.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-240x180.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-375x281.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite-520x390.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.fromwebsite.png 942w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller went from NBA mascot to standup comic without missing a beat. “He had a gift,” said former Houston Rockets mascot Jerry Burrell. \u003ccite>(via sadikifuller.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sadiki had come into Jesus’ life with the same prescient timing that brought him into the Warriors’ organization—during a period when his talents, wisdom and uplifting spirit were most needed. During a time when the Warriors definitely were \u003cem>not\u003c/em> everywhere.\u003c/p>\n\u003cp>Jesus and Sadiki’s relationship was the stuff of mythological folklore; a chance meeting leads to a call to action, resulting in life-changing circumstances in which both emerge better for having traveled the journey together. Especially Jesus.\u003c/p>\n\u003cp>Last week when I sat down with Jesus at the bar, he summed it up by saying to me, “No one prepares you for your hero to die.”\u003c/p>\n\u003cfigure id=\"attachment_13832832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832832\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg\" alt=\"Thunder hitting a dunk for the fans outside the arena, 1990s.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.Oracleoutside.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thunder hitting a dunk for the fans outside the arena, 1990s. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>esus—or Zeus, as many people call him—was in elementary school when he first saw Thunder perform, watching in awe as the man in full-body spandex flew off a trampoline, hit flips and dunked basketballs with ease.\u003c/p>\n\u003cp>The next year, Zeus and Sadiki’s paths crossed again. Zeus, one of the millions of kids with an outlandish dream of becoming a superhero, asked the masked man how he could be like him. Sadiki, from behind the mesh face-wear, simply said, “Go to Head Over Heels.”\u003c/p>\n\u003cp>Zeus went home, found Head Over Heels under “Gyms” in the Yellow Pages, and called the number. The organization offered Zeus free gymnastics classes in exchange for working—cleaning everything from dishes to gym mats.\u003c/p>\n\u003cp>Zeus did that for a year, calling Thunder’s office number everyday along the way, just to tell him about his progress. Until one day, Thunder invited Zeus down to the Warriors headquarters.\u003c/p>\n\u003cp>Zeus didn’t know it at the time, but Sadiki Fuller was giving him something more than access to a professional NBA facility. He was passing down the torch of mentorship; unveiling the real path to becoming a superhero.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple of days ago, I talked to Sadiki’s mother, Brenda Orr, who told me about his childhood in Houston, Texas. “His first love was gymnastics. He loved to flip, and do acrobatic things,” Orr told me. “He would teach all the kids in the neighborhood. He had his own gymnastics class on my front lawn; we could never grow grass because he was always flipping on it!”\u003c/p>\n\u003cp>On the conference call, including his two sisters, Aiisha and Jari, they told me story after story exemplifying Sadiki’s charisma and leadership.\u003c/p>\n\u003cp>“A couple of years ago, I had my 40th birthday. He showed up, and I was outside socializing,” said Aiisha. “By the time I realized he was there, all my friends were charmed by him. He told everyone he was hugger, and he went around and hugged each and every one of them.”\u003c/p>\n\u003cp>That charisma, charm and urge to uplift others is what made him standout, both socially and professionally. Jerry Burrell, former mascot for the Houston Rockets, says he first met Sadiki in 1994, when he was looking for guys to be a part of a dunk team—not just any dunk team, but a team of superheroes.\u003c/p>\n\u003cp>“He was tall and skinny, and didn’t look like a superhero, so I blew him off,” Burrell told me. “But he kept calling me.”\u003c/p>\n\u003cp>Burrell kept Sadiki as a backup dunker, but Sadiki soon got his time to shine. One day, as the team packed their belongings after a show at a high school, a crowd of people gathered to compliment them on their performance. Next thing Burrell knew, “(Sadiki) was making little kids balloon animals, and at one point he did a flip. He was tying it all together with funny anecdotes and references. He had them eating out of his hand,” said Burrell.\u003c/p>\n\u003cp>“I realized that I had gotten him wrong,” said Burrell, who quickly brought Sadiki onto his High Impact Squad. “It didn’t matter that he didn’t have the ‘superhero look.’ He had a gift.”\u003c/p>\n\u003cfigure id=\"attachment_13832828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg\" alt=\"Sadiki Fuller, always outgoing, twisting balloons on the court.\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.balloonscourt-520x372.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sadiki Fuller, always outgoing, twisting balloons on the court. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Warriors discovered Sadiki’s gift two years later, after the team abandoned a failed experiment with a mascot by the name of Berserker. A Warriors rep had caught wind of Sadiki’s talents, and brought him on board to play a new, more acrobatic mascot, named Thunder.\u003c/p>\n\u003cp>Sadiki would go on to dunk, flip and fly through the air at Warriors games, in schools and at social events for the next five years—a particularly downtrodden era for Warriors fandom. (As \u003ca href=\"https://www.nytimes.com/2016/03/30/sports/basketball/golden-state-warriors-mascot-thunder-sadiki-fuller.html\" target=\"_blank\" rel=\"noopener noreferrer\">a \u003cem>New York Times\u003c/em> piece on Sadiki\u003c/a> notes, the Warriors went 97-281 during his tenure.) But that didn’t matter to Sadiki. When he performed, he’d go all in. He’d breakdance at center court. He’d hit handstands, and while inverted, he’d kick his legs in rhythm to the music on the stadium’s PA system. Solely by using body language—his face shrouded by a mask—he’d convey excitement.\u003c/p>\n\u003cp>And of course, when it was time, he’d hit a trampoline that was held in place by his young assistant, Zeus, take to the sky like a rocket, and then come down while slamming the ball with the power of Shango—lighting up the Oracle with wild cheers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n other words, Sadiki kept people smiling during the dark ages. He was the life of the party. And when he wasn’t on the court, hitting flips and uplifting spirits, he was busy forming his own dunk team—Team Thunder.\u003c/p>\n\u003cp>“He always told us his goal wasn’t to make us better dunkers or performers, but to make us better men,” said Eddie Johnson, one of the original members of Team Thunder. Johnson, who Sadiki recruited after seeing his Taekwondo performance at a Warriors game, dunked for years with Team Thunder—which eventually morphed into the Flying Dubs after the Seattle Supersonics rebranded themselves as the Oklahoma City Thunder.\u003c/p>\n\u003cp>In fact, the Supersonics’ name change had further impact: to avoid confusion, the Warriors decided to part ways with their mascot, Thunder. Sadiki took it as a sign to move to Los Angeles and pursue his dream of standup comedy, which he performed for the past 15 years with relative success (including one time he got to imitate Chris Rock—\u003ca href=\"https://www.youtube.com/watch?v=n-glDhAFLJA&feature=youtu.be&t=2m35s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>in front of\u003c/em> Chris Rock\u003c/a>).\u003c/p>\n\u003cp>But during his time flying through the air in Oakland for screaming fans, Sadiki quietly showed a handful of young men a better path in life.\u003c/p>\n\u003cfigure id=\"attachment_13832830\" class=\"wp-caption aligncenter\" style=\"max-width: 743px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832830\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg\" alt=\"Zeus teaches a new generation at Head Over Heels gym in Emeryville.\" width=\"743\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels.jpg 743w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-240x239.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-375x373.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-520x518.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/SADIKI.HeadHeels-150x150.jpg 150w\" sizes=\"(max-width: 743px) 100vw, 743px\">\u003cfigcaption class=\"wp-caption-text\">Zeus teaches a new generation at Head Over Heels gym in Emeryville. \u003ccite>(Courtesy Jesus El)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although he never became an official NBA mascot himself, Zeus worked as the Oakland A’s mascot, Stomper, for a year. He’s also traveled the world by acro-dunking, performing at many NBA games as well as schools and youth centers. He’s earned a couple of plaques from the Guinness Book of World Records for acrobatic slam-dunking. And he even has a photo with Beyoncé from an NBA All-Star Game in Denver—his second-most major accomplishment, in my eyes.\u003c/p>\n\u003cp>His first, of course, is the long-running mentorship program he and other members of the Flying Dubs continue to run to this day, even after the Warriors discontinued their involvement with the dunk team a few seasons ago.\u003c/p>\n\u003cp>Johnson, now a father of four, focuses much of his time and energy on his family these days. But every once in a while, he makes the journey to Head Over Heels gymnasium in Emeryville, where his former dunk team teammate, Zeus, teaches young people the art of gymnastics, acrobatic slam dunking and life skills, for free. Giving them the same path he got from Sadiki years ago.\u003c/p>\n\u003cp>The path of a superhero.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "David Wiegand, Longtime Co-Host of KQED's The Do List, Dies at 70",
"headTitle": "David Wiegand, Longtime Co-Host of KQED’s The Do List, Dies at 70 | KQED",
"content": "\u003cp>David Wiegand, Assistant Managing Editor at the \u003cem>San Francisco Chronicle\u003c/em> and my co-host on \u003cem>The Do List\u003c/em> on KQED from 2008 to 2017, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> at his home Monday. He was a colleague, friend, dog lover, and someone who seemed to know everyone and everything about music, theater and the arts here in the Bay Area.\u003c/p>\n\u003cp>By all accounts, David was a workaholic, helping plan the \u003cem>Chronicle\u003c/em>’s coverage for big events; writing TV reviews; editing copy, sometimes late into the night, from the paper’s critics; and filling in for them when needed. Yet somehow he always found time for \u003cem>The Do List\u003c/em>, which he often remarked was his favorite part of the week. (While out in public, he got a kick out of the fact that people recognized his voice from the show and told him how much they enjoyed it.) \u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"David Wiegand and KQED's Cy Musiker at The Do List Live event at The Chapel in 2015.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13830917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand and KQED’s Cy Musiker at The Do List Live event at The Chapel in 2015. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When David, radio producer Suzie Racho, Vice President Jo Anne Wallace and I created \u003cem>The Do List\u003c/em> in October of 2008, Wiegand brought the show credibility and depth. Usually when talking about an upcoming event, he had previously interviewed the artist, or heard them perform a year ago, or 20 years ago, and kept a vivid memory of why they were so good at their art.\u003c/p>\n\u003cp>David loved classical music, rock ‘n’ roll, rap, cabaret and jazz, theater and the occasional opera — though he had little use for Wagner. He got a huge kick out of standup comics, and the way they skewered the pompous and the stupid. And David got just as excited about discovering young talent, a new singer or lyricist, or painter, or a great new theater group. In other words, there was nothing stale about his taste, and he was proud to have a role in publicizing something great that no one had heard of before.\u003c/p>\n\u003cp>David and Suzie Racho and I were an odd trio, sometimes. He could be cranky when he felt like it; he also had a razor-sharp wit. We often disagreed on whether a performer was great or crap. But that was David — passionately caring about art, about \u003cem>The Do List\u003c/em>, and the trust our listeners gave us to help them find a great show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David never missed a show or a deadline. And he believed deeply that the arts mattered in society, that they could both bring us joy and new insights about the world.\u003c/p>\n\u003cp>We’re going to miss his insights, his voice and his wisdom.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">Read the \u003c/a>\u003c/em>Chronicle\u003cem>’s obituary of David Wiegand here.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Wiegand, Assistant Managing Editor at the \u003cem>San Francisco Chronicle\u003c/em> and my co-host on \u003cem>The Do List\u003c/em> on KQED from 2008 to 2017, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">died unexpectedly\u003c/a> at his home Monday. He was a colleague, friend, dog lover, and someone who seemed to know everyone and everything about music, theater and the arts here in the Bay Area.\u003c/p>\n\u003cp>By all accounts, David was a workaholic, helping plan the \u003cem>Chronicle\u003c/em>’s coverage for big events; writing TV reviews; editing copy, sometimes late into the night, from the paper’s critics; and filling in for them when needed. Yet somehow he always found time for \u003cem>The Do List\u003c/em>, which he often remarked was his favorite part of the week. (While out in public, he got a kick out of the fact that people recognized his voice from the show and told him how much they enjoyed it.) \u003c/p>\n\u003cfigure id=\"attachment_13830917\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg\" alt=\"David Wiegand and KQED's Cy Musiker at The Do List Live event at The Chapel in 2015.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-13830917\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-800x460.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-160x92.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-768x442.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-960x552.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-240x138.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-375x216.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642-520x299.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/David-Wiegand-and-Cy-Musiker-at-The-Do-List-Live-event-at-The-Chapel-in-2015-e1525220054642.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Wiegand and KQED’s Cy Musiker at The Do List Live event at The Chapel in 2015. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When David, radio producer Suzie Racho, Vice President Jo Anne Wallace and I created \u003cem>The Do List\u003c/em> in October of 2008, Wiegand brought the show credibility and depth. Usually when talking about an upcoming event, he had previously interviewed the artist, or heard them perform a year ago, or 20 years ago, and kept a vivid memory of why they were so good at their art.\u003c/p>\n\u003cp>David loved classical music, rock ‘n’ roll, rap, cabaret and jazz, theater and the occasional opera — though he had little use for Wagner. He got a huge kick out of standup comics, and the way they skewered the pompous and the stupid. And David got just as excited about discovering young talent, a new singer or lyricist, or painter, or a great new theater group. In other words, there was nothing stale about his taste, and he was proud to have a role in publicizing something great that no one had heard of before.\u003c/p>\n\u003cp>David and Suzie Racho and I were an odd trio, sometimes. He could be cranky when he felt like it; he also had a razor-sharp wit. We often disagreed on whether a performer was great or crap. But that was David — passionately caring about art, about \u003cem>The Do List\u003c/em>, and the trust our listeners gave us to help them find a great show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David never missed a show or a deadline. And he believed deeply that the arts mattered in society, that they could both bring us joy and new insights about the world.\u003c/p>\n\u003cp>We’re going to miss his insights, his voice and his wisdom.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.sfchronicle.com/entertainment/article/David-Wiegand-Chronicle-arts-editor-and-TV-12879905.php\" rel=\"noopener\" target=\"_blank\">Read the \u003c/a>\u003c/em>Chronicle\u003cem>’s obituary of David Wiegand here.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\u003c/p>\n\u003cp>https://youtu.be/_ovdm2yX4MA\u003c/p>\n\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\n\u003cp>https://twitter.com/aloeblacc/status/987394281303302144\u003c/p>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\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/_ovdm2yX4MA'\n title='//www.youtube.com/embed/_ovdm2yX4MA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It was an epiphany at the Great American Music Hall in San Francisco that changed the course of Wesla Whitfield’s life.\u003c/p>\n\u003cp>“Some friends of mine took me to hear this singer Sarah Vaughan, and that was that,” Whitfield told me some two decades ago, in an extended interview for a documentary. “I’ve been trying ever since to get all the way from opera to jazz. I’ll never make it, but it’s a wonderful time trying.”\u003c/p>\n\u003cp>Whitfield, who died Friday night at the age of 70 in the Saint Helena home she shared with her husband, pianist Mike Greensill, left opera far behind. Over the course of four decades, 20 albums and hundreds of spellbinding performances, she played a key role in making San Francisco the most vital outpost for American Songbook exploration after New York City.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9USUBGOqRc\u003c/p>\n\u003cp>While some pigeonholed her as a cabaret singer, Whitfield’s artistry made distinctions between jazz and cabaret moot. An expert spelunker into the vast treasure trove of Broadway show tunes, Hollywood themes, and Tin Pan Alley songs churned out before the rock ‘n’ roll revolution, she turned standards into riveting tales marked by her fierce intelligence and emotional acuity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m trying to become a jazz singer, in the sense that I don’t scat, but then neither did Billie Holiday,” Whitfield said. “I tell the story of the song, and in jazz you can play with the notes a little. You can play with the rhythm, and you can play with a lot of stuff that helps tell the story. So I’m a storyteller, and I’m an apprentice jazz singer.”\u003c/p>\n\u003cp>The cabaret tag stuck partly because Whitfield became a regular presence in the country’s top cabaret venues rather than jazz clubs. She won a devoted following with long runs at the Algonquin Hotel’s storied Oak Room, the Hollywood Roosevelt Hotel’s Cinegrill, and her hometown spot, the York Hotel’s lamented Plush Room. But Whitfield surrounded herself with jazz players, most importantly Greensill, an ebulliently swinging Englishman and ace accompanist with a gift for crafting bespoke, harmonically insightful arrangements beautifully tailored for Whitfield’s voice.\u003c/p>\n\u003cp>Part of what made Whitfield such a powerful performer was her ability to set the stage for a song with a few pithy remarks, like the time she recast “You Don’t Know What Love Is” from torch song lament to passive-aggressive ode by mentioning that a former lover once sent her a recording of the song. No one has better summed up the American Songbook chapter devoted to masochistic love songs than when she once introduced Billie Holiday’s “Don’t Explain” as belonging to the “Hello! I’m a Doormat, Step on Me” genre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tmb13TOid94\u003c/p>\n\u003cp>Born Weslia Edwards in Santa Maria in 1947 when the Santa Barbara County town depended upon agriculture, Whitfield decided early on that she would be a singer. Around the age of five, she saw the singer Molly Bee on television, “and I thought that’s what I want to do,” she recalled. “I didn’t tell anybody because I was a little girl and they would say, ‘Don’t be silly. What do you know?’ But I knew I was going to be a singer.”\u003c/p>\n\u003cp>She loved showtunes, but vocal training in the 1960s focused on the European classical repertoire. After several years studying in Los Angeles she eventually made her way to the Bay Area and earned a B.A. in music from San Francisco State in 1972 (three decades later the school named her alumna of the year).\u003c/p>\n\u003cp>While singing in the San Francisco Opera chorus, she led a double life, engaging in “the lowest form of singing known to man,” she said. “I started as a singing cocktail waitress, part of a little group of singing cocktail waiters and waitresses, and three times a night we would all get up and do our songs and that would be our set. Slowly I built up a little following.”\u003c/p>\n\u003cp>Then came Sarah Vaughan, and her jazz epiphany. She had just started playing little gigs around the city in 1977 when two young teenage boys tried to mug her. As she walked away, one of them pulled out a gun and shot her in the back. The shooting left her without the use of her legs, a fact that she downplayed on stage until recent years when she started performing in her wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg\" alt=\"Wesla Whitfield with jazz producer Orrin Keepnews.\" width=\"800\" height=\"452\" class=\"size-medium wp-image-11109139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield with jazz producer Orrin Keepnews. \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key turning point in her career came when she began collaborating with Greensill, who had spent four years playing in Hong Kong before settling in San Francisco in 1977. Whitfield’s pianist at the time liked to take long breaks, and Greensill ended up sitting in for several numbers one night. “He played really well, and talking to him afterwards I found out he also did arranging, so I said come by and we’ll talk about some tunes,” Whitfield recalled.\u003c/p>\n\u003cp>They were both married at the time, but over the course of five years performing together they each divorced and forged a close friendship, “then one night we looked at each other and whoops!” Whitfield said.\u003c/p>\n\u003cp>Married in 1985, they knew that Whitfield had to start recording to land better gigs. Her 1986 debut album “Just For a Thrill” featured tenor sax great Al Cohn on one of his last sessions and earned rave reviews from longtime \u003cem>San Francisco Examiner\u003c/em> critic Phil Elwood.\u003c/p>\n\u003cp>She went on to make a series of exceptional recordings, often working with legendary jazz producer Orrin Keepnews. A particular standout is 2003’s \u003cem>September Songs\u003c/em> (HighNote), a program of music by Alec Wilder, Kurt Weill, and Harry Warren featuring Kronos Quartet, pianist Tommy Flanagan, and drummer Tootie Heath among the special guests.\u003c/p>\n\u003cp>Throughout the years, Whitfield continued to measure herself by her musical heroes, “Carmen McRae and Anita O’Day and other people just unbelievably hip,” she said. “My husband is that hip and the musicians that work with me are all real jazz performers, so I’m trying. I figure I have 30 more years before I have to stop singing, or maybe not. But I’ll always be trying to be a little less square.”\u003c/p>\n\u003cp>Better than being hip, Wesla trafficked in truth, revealing the stark emotions and sometimes sublime beauty waiting to be uncovered in the American Songbook that she loved so dearly.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Remembering the longtime interpreter of American standards, who died Friday at age 70.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was an epiphany at the Great American Music Hall in San Francisco that changed the course of Wesla Whitfield’s life.\u003c/p>\n\u003cp>“Some friends of mine took me to hear this singer Sarah Vaughan, and that was that,” Whitfield told me some two decades ago, in an extended interview for a documentary. “I’ve been trying ever since to get all the way from opera to jazz. I’ll never make it, but it’s a wonderful time trying.”\u003c/p>\n\u003cp>Whitfield, who died Friday night at the age of 70 in the Saint Helena home she shared with her husband, pianist Mike Greensill, left opera far behind. Over the course of four decades, 20 albums and hundreds of spellbinding performances, she played a key role in making San Francisco the most vital outpost for American Songbook exploration after New York City.\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/R9USUBGOqRc'\n title='//www.youtube.com/embed/R9USUBGOqRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While some pigeonholed her as a cabaret singer, Whitfield’s artistry made distinctions between jazz and cabaret moot. An expert spelunker into the vast treasure trove of Broadway show tunes, Hollywood themes, and Tin Pan Alley songs churned out before the rock ‘n’ roll revolution, she turned standards into riveting tales marked by her fierce intelligence and emotional acuity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m trying to become a jazz singer, in the sense that I don’t scat, but then neither did Billie Holiday,” Whitfield said. “I tell the story of the song, and in jazz you can play with the notes a little. You can play with the rhythm, and you can play with a lot of stuff that helps tell the story. So I’m a storyteller, and I’m an apprentice jazz singer.”\u003c/p>\n\u003cp>The cabaret tag stuck partly because Whitfield became a regular presence in the country’s top cabaret venues rather than jazz clubs. She won a devoted following with long runs at the Algonquin Hotel’s storied Oak Room, the Hollywood Roosevelt Hotel’s Cinegrill, and her hometown spot, the York Hotel’s lamented Plush Room. But Whitfield surrounded herself with jazz players, most importantly Greensill, an ebulliently swinging Englishman and ace accompanist with a gift for crafting bespoke, harmonically insightful arrangements beautifully tailored for Whitfield’s voice.\u003c/p>\n\u003cp>Part of what made Whitfield such a powerful performer was her ability to set the stage for a song with a few pithy remarks, like the time she recast “You Don’t Know What Love Is” from torch song lament to passive-aggressive ode by mentioning that a former lover once sent her a recording of the song. No one has better summed up the American Songbook chapter devoted to masochistic love songs than when she once introduced Billie Holiday’s “Don’t Explain” as belonging to the “Hello! I’m a Doormat, Step on Me” genre.\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/Tmb13TOid94'\n title='//www.youtube.com/embed/Tmb13TOid94'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Weslia Edwards in Santa Maria in 1947 when the Santa Barbara County town depended upon agriculture, Whitfield decided early on that she would be a singer. Around the age of five, she saw the singer Molly Bee on television, “and I thought that’s what I want to do,” she recalled. “I didn’t tell anybody because I was a little girl and they would say, ‘Don’t be silly. What do you know?’ But I knew I was going to be a singer.”\u003c/p>\n\u003cp>She loved showtunes, but vocal training in the 1960s focused on the European classical repertoire. After several years studying in Los Angeles she eventually made her way to the Bay Area and earned a B.A. in music from San Francisco State in 1972 (three decades later the school named her alumna of the year).\u003c/p>\n\u003cp>While singing in the San Francisco Opera chorus, she led a double life, engaging in “the lowest form of singing known to man,” she said. “I started as a singing cocktail waitress, part of a little group of singing cocktail waiters and waitresses, and three times a night we would all get up and do our songs and that would be our set. Slowly I built up a little following.”\u003c/p>\n\u003cp>Then came Sarah Vaughan, and her jazz epiphany. She had just started playing little gigs around the city in 1977 when two young teenage boys tried to mug her. As she walked away, one of them pulled out a gun and shot her in the back. The shooting left her without the use of her legs, a fact that she downplayed on stage until recent years when she started performing in her wheelchair.\u003c/p>\n\u003cfigure id=\"attachment_11109139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg\" alt=\"Wesla Whitfield with jazz producer Orrin Keepnews.\" width=\"800\" height=\"452\" class=\"size-medium wp-image-11109139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Whitfield-and-Orrin.jpg 1437w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wesla Whitfield with jazz producer Orrin Keepnews. \u003ccite>(Photo: Mike Greensill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A key turning point in her career came when she began collaborating with Greensill, who had spent four years playing in Hong Kong before settling in San Francisco in 1977. Whitfield’s pianist at the time liked to take long breaks, and Greensill ended up sitting in for several numbers one night. “He played really well, and talking to him afterwards I found out he also did arranging, so I said come by and we’ll talk about some tunes,” Whitfield recalled.\u003c/p>\n\u003cp>They were both married at the time, but over the course of five years performing together they each divorced and forged a close friendship, “then one night we looked at each other and whoops!” Whitfield said.\u003c/p>\n\u003cp>Married in 1985, they knew that Whitfield had to start recording to land better gigs. Her 1986 debut album “Just For a Thrill” featured tenor sax great Al Cohn on one of his last sessions and earned rave reviews from longtime \u003cem>San Francisco Examiner\u003c/em> critic Phil Elwood.\u003c/p>\n\u003cp>She went on to make a series of exceptional recordings, often working with legendary jazz producer Orrin Keepnews. A particular standout is 2003’s \u003cem>September Songs\u003c/em> (HighNote), a program of music by Alec Wilder, Kurt Weill, and Harry Warren featuring Kronos Quartet, pianist Tommy Flanagan, and drummer Tootie Heath among the special guests.\u003c/p>\n\u003cp>Throughout the years, Whitfield continued to measure herself by her musical heroes, “Carmen McRae and Anita O’Day and other people just unbelievably hip,” she said. “My husband is that hip and the musicians that work with me are all real jazz performers, so I’m trying. I figure I have 30 more years before I have to stop singing, or maybe not. But I’ll always be trying to be a little less square.”\u003c/p>\n\u003cp>Better than being hip, Wesla trafficked in truth, revealing the stark emotions and sometimes sublime beauty waiting to be uncovered in the American Songbook that she loved so dearly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Hugh Masekela, Father Of South African Jazz, Dies At 78",
"headTitle": "Hugh Masekela, Father Of South African Jazz, Dies At 78 | KQED",
"content": "\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a60v-flk1OE\u003c/p>\n\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\u003c/p>\n\u003cp>https://youtu.be/D4I_9OXtKUo\u003c/p>\n\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\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/a60v-flk1OE'\n title='//www.youtube.com/embed/a60v-flk1OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\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/D4I_9OXtKUo'\n title='//www.youtube.com/embed/D4I_9OXtKUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pam Warren, aka \u003ca href=\"https://www.pamthefunkstress.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pam the Funkstress\u003c/a>, a trailblazing DJ from the Peninsula, passed away on December 22 from organ failure according to friends familiar with her condition.\u003c/p>\n\u003cp>“It’s a massive loss for Bay Area hip-hop; it’s a huge loss for women in hip-hop; it’s a huge, huge loss for the DJ community,” says DJ Sake, a longtime friend of Pam’s who threw a weekly party with her in the late 2000s.\u003c/p>\n\u003cfigure id=\"attachment_13818093\" class=\"wp-caption alignright\" style=\"max-width: 456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg\" alt=\"Pam the Funkstress with the Coup in the early '90s.\" width=\"456\" height=\"546\" class=\"size-full wp-image-13818093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup.jpg 456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/pam-with-the-coup-375x449.jpg 375w\" sizes=\"(max-width: 456px) 100vw, 456px\">\u003cfigcaption class=\"wp-caption-text\">Pam the Funkstress with the Coup in the early ’90s. \u003ccite>(Courtesy of pamthefunkstress.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pam first rose to prominence as a battle DJ in the late ’80s and early ’90s, eventually going to become the DJ for the Coup, the Boots Riley-fronted political hip-hop group. The Coup was one of the first Oakland rap acts to gain national recognition with controversial releases like \u003cem>Kill My Landlord\u003c/em>. \u003c/p>\n\u003cp>In the years that followed, Pam became an important fixture in Oakland’s hip-hop scene. But music wasn’t her only passion: She was also a talented chef — sometimes even bringing her famous mac ‘n’ cheese to friends’ DJ gigs — and went on to become the chef and co-owner of Piccadilly Catering in Foster City around 2009.\u003c/p>\n\u003cp>In recent years, Pam had been active in the Bay Area nightlife scene as a club DJ. After she played an afterparty for a Prince concert in 2016, \u003ca href=\"https://pitchfork.com/thepitch/1096-meet-pam-the-funkstress-princes-new-dj/\" rel=\"noopener noreferrer\" target=\"_blank\">Prince personally invited her to accompany him on tour\u003c/a>; she was his tour DJ on his final concert series, A Piano and a Microphone, up until his untimely passing in 2016, earning her the nickname Purple Pam. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/x3JpxrHDUyM\u003c/p>\n\u003cp>In November, Pam posted on social media that she was cancelling all upcoming shows due to undisclosed health issues. She went into critical condition shortly after, but underwent a seemingly successful organ transplant surgery that month.\u003c/p>\n\u003cp>News of Pam’s death spread like wildfire today on social media, with tributes pouring in from fans, artists, and hip-hop elders alike. \u003c/p>\n\u003cdiv class=\"aligncenter\">\nhttps://www.instagram.com/p/BdBu58rH7kd/?taken-by=djshellheart\n\u003c/div>\n\u003cp>https://twitter.com/RawwG/status/944378788913168385\u003c/p>\n\u003cp>https://twitter.com/dreamhampton/status/944402085763862530\u003c/p>\n\u003cp>https://twitter.com/KevChoice/status/944396422950129664\u003c/p>\n\u003cp>https://twitter.com/williemaze/status/944383587230429184\u003c/p>\n\u003cp>Pam’s family and the Coup have yet to release an official statement. We’ll update this post as more information becomes available. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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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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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
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