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"content": "\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>[aside postID='arts_13950886']Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>[aside postID='news_11957757']“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "David Johnson, Photographer of Black Culture, Dies at 97 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Johnson generally wasn’t interested in people posing for his camera.\u003c/p>\n\u003cp>As the photographer and civil rights activist put it in a \u003ca href=\"https://www.youtube.com/watch?v=u0Lcv7xyh-w\">2017 interview\u003c/a> at the University of California, Berkeley: “A big smiling photograph? That wasn’t my style.”\u003c/p>\n\u003cp>Johnson died at his home in Greenbrae, north of San Francisco, earlier this month. According to his stepdaughter, he was suffering from advanced dementia and had pneumonia. He was 97 years old.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson was the first Black student of the famous nature \u003ca href=\"https://www.npr.org/sections/pictureshow/2011/10/07/141149616/retracing-the-steps-of-ansel-adams\">photographer Ansel Adams\u003c/a> and became known as one of the foremost chroniclers of San Francisco’s Black urban culture.\u003c/p>\n\u003cp>In one of his most famous images, shot early in his career in 1946, Johnson depicts a street corner in San Francisco’s Fillmore District — once a hub for the city’s thriving Black community \u003ca href=\"https://www.kqed.org/news/11957757/why-san-franciscos-fillmore-district-is-no-longer-the-harlem-of-the-west\">until redevelopment later in the century\u003c/a> forced nearly all of them out.\u003c/p>\n\u003cfigure id=\"attachment_13954239\" class=\"wp-caption aligncenter\" style=\"max-width: 2016px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg\" alt=\"Black-and-white photograph of busy street corner with pedestrian, car and bus traffic\" width=\"2016\" height=\"2560\" class=\"size-full wp-image-13954239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-scaled.jpg 2016w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-800x1016.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1020x1295.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1613x2048.jpg 1613w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/fillmore_custom-53676662fb1086870b49a2b88da8ef2925baba3d-1920x2438.jpg 1920w\" sizes=\"(max-width: 2016px) 100vw, 2016px\">\u003cfigcaption class=\"wp-caption-text\">‘Looking South on Fillmore, 1946,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The image has energetic angles and stark contrasts of light and shadow. And it’s shot from above. In the UC Berkeley interview, Johnson said he clambered up four stories on a nearby construction scaffold to get it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I focused my camera and took one photograph,” Johnson said. “I was kind of anxious to get this little job over with and go back down to the ground.”\u003c/p>\n\u003ch3>A tough childhood\u003c/h3>\n\u003cp>Johnson was born in 1926 in Jacksonville, Florida, to an impoverished single mother who handed her baby off to be raised by a cousin.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.kqed.org/forum/201307251030/photographer-david-johnson-capturing-san-franciscos-black-community-in-the-1940s-and-50s\">2013 interview\u003c/a> with KQED, Johnson said he got his first camera by selling magazine subscriptions door-to-door.\u003c/p>\n\u003cp>“I just started snapping pictures around the neighborhood. And I got kind of fascinated with that,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13954237\" class=\"wp-caption aligncenter\" style=\"max-width: 1758px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg\" alt=\"Portrait of older person sitting in front of framed photo of young person\" width=\"1758\" height=\"2560\" class=\"size-full wp-image-13954237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-scaled.jpg 1758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-800x1165.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1020x1485.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-768x1118.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1055x1536.jpg 1055w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1407x2048.jpg 1407w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/dsc_3200plus-copy_custom-2acb66c92b261924a955c36c95f0d174297ce25d-1920x2796.jpg 1920w\" sizes=\"(max-width: 1758px) 100vw, 1758px\">\u003cfigcaption class=\"wp-caption-text\">David Johnson in 2023 with one of his photographs, ‘Clarence,’ at an award luncheon at UC Berkeley honoring the photographer. \u003ccite>(Peg Skorpinski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson was drafted into the U.S. Navy right out of high school. He was stationed in San Francisco, where he fell in love with the city, and was then sent to the Philippines for the remainder of World War II. After returning, he wanted to develop his photography skills in college.\u003c/p>\n\u003cp>It was 1946, and budding photographers were clamoring to get into the program that master lensman Adams had just launched at the California School of Fine Arts in San Francisco (later known as the San Francisco Art Institute). Its star-studded faculty included Minor White, Imogen Cunningham, Edward Weston and Dorothea Lange.\u003c/p>\n\u003ch3>San Francisco-bound\u003c/h3>\n\u003cp>Johnson wanted in. So he sent Adams a letter.\u003c/p>\n\u003cp>“I wrote to Ansel and said, ‘I’m interested in studying photography. I have the GI Bill. And I would like for you to evaluate my [application].’ Ansel wrote me back and said, ‘There are no vacancies in the class,’” he told KQED.\u003c/p>\n\u003cp>But a student dropped out, making room for Johnson.\u003c/p>\n\u003cp>He hopped on a segregated train that took him from Jacksonville to San Francisco. After living in Adams’ house for a while, he eventually found a low-rent room in the Fillmore District and started taking lots of photos.\u003c/p>\n\u003cfigure id=\"attachment_13954240\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg\" alt=\"Signed black-and-white photograph of woman posing with children on a stage\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13954240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/earthakitt-c999363a82294d4177dcc25e58e5746643ec5f4f-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Eartha Kitt with Neighborhood Children, 1947,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Many of these images appeared decades later in a \u003ca href=\"https://www.youtube.com/watch?v=a8h2meDtdm8&t=186s\">KQED documentary\u003c/a> about the Fillmore’s status — and eventual demise — as one of the country’s most vibrant Black neighborhoods.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He would go to the clubs in the evenings, take incredible photographs of musicians,” said Christine Hult-Lewis, the pictorial curator of special collections at UC Berkeley’s Bancroft Library, which houses the \u003ca href=\"https://search.library.berkeley.edu/discovery/fulldisplay?context=L&vid=01UCS_BER:UCB&search_scope=DN_and_CI&tab=Default_UCLibrarySearch&docid=alma991036750439706532\">David Johnson archive\u003c/a>. “He had very easy relationships with people in the barbershops and the folks in the churches and folks on the streets.”\u003c/p>\n\u003cp>Johnson said his college instructors encouraged these pursuits.\u003c/p>\n\u003cp>“Growing up, most of the photographs I have seen of Black people were just not very complimentary,” he told KQED. “I said, ‘My photographs will have Black people photographed in a dignified manner.’”\u003c/p>\n\u003ch3>Documenting street life, famous figures and civil rights\u003c/h3>\n\u003cp>Hult-Lewis said that as a freelance press photographer, Johnson took candid photos of Black celebrities who came to town, such as Nat King Cole, Paul Robeson and Langston Hughes.\u003c/p>\n\u003cfigure id=\"attachment_13954241\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg\" alt=\"Black-and-white photo of a man signing a book held by another person\" width=\"2560\" height=\"2197\" class=\"size-full wp-image-13954241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-800x687.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1020x876.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-768x659.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1536x1318.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-2048x1758.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/natkingcole_custom-c89c2cf3da81bc3d63ec8908ad5869544ec480e9-1920x1648.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Nat King Cole at Fairmont Hotel, 1949,’ by David Johnson. \u003ccite>(The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And he used his camera to spark conversations about civil rights.\u003c/p>\n\u003cp>“There’s one really iconic photograph of a woman listening to a speech and she’s got kind of a dubious look on her face, but in her glasses are reflected the American flag,” Hult-Lewis said. “There’s another incredible photograph of a young African American boy sitting, holding an American flag in the embrace of a sculpture of Abraham Lincoln.”\u003c/p>\n\u003cp>Johnson also often participated in direct political action. He attended the 1963 March on Washington, and organized the first Black caucus at the University of California, San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13954242\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg\" alt=\"Black-and-white photo of American flag reflected in woman's glasses in a crowd\" width=\"1896\" height=\"2560\" class=\"size-full wp-image-13954242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-scaled.jpg 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1020x1377.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-768x1037.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1137x1536.jpg 1137w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1516x2048.jpg 1516w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/womanwithglasses_custom-605868833ecd9e4570ec10b33f4c4c6680e849a9-1920x2593.jpg 1920w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">‘Reflections in Glasses, 1963,’ by David Johnson. \u003ccite>( The David Johnson Photograph Archive, The Bancroft Library, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was part of a group that successfully sued the San Francisco Unified School District to compel them to more fully desegregate the schools,” Hult-Lewis said.\u003c/p>\n\u003cp>Johnson never became a big name like his teacher Adams. By the 1980s he’d stopped taking photos altogether.\u003c/p>\n\u003cp>But interest in Johnson’s work has grown in recent years, as cities across the country grapple with the negative impacts that urban redevelopment can have. His work is in the collection of major institutions, including the \u003ca href=\"https://www.sfmoma.org/artist/David_S._Johnson/\">San Francisco Museum of Modern Art\u003c/a>, and was the subject of a \u003ca href=\"https://www.sfartscommission.org/experience-art/exhibitions/david-johnson-zone-1945-1965\">solo exhibition\u003c/a> at San Francisco City Hall in 2022.\u003c/p>\n\u003cp>“The photographs tell life, life as it was then, life that cannot be duplicated or recreated in today,” Johnson’s wife, Jacqueline Sue, told KQED in 2013. “It’s a marker of history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jess Curtis, Choreographer and Accessibility Champion, Has Died",
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"content": "\u003cfigure id=\"attachment_13921238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg\" alt=\"Jess Curtis, a white man with short white hair and a black T-shirt, looks into the camera.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jess Curtis championed accessibility in the performing arts for blind and visually impaired people. \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dancer and choreographer Jess Curtis, a champion of accessibility in the performing arts, has died, according to \u003ca href=\"https://www.instagram.com/p/C4ceCmKx3m7/?hl=en\">an announcement\u003c/a> on Instagram from his sister Jenene, close collaborator Keith Hennessy and several others. On Instagram, Hennessy posted that Curtis collapsed from an apparent heart issue during a bike ride in San Francisco on March 11 and passed away unexpectedly.\u003c/p>\n\u003cp>“Jess’ community of friends and peers is deep and wide,” the statement reads. “The positive impact of his creative work will be felt for years. Earlier that same day Jess expressed gratitude for the wonderful life and network of friends he was enjoying. We are all in shock and deep grief.”\u003c/p>\n\u003cp>Curtis had been a major figure in dance for decades. In 2000, he founded the company Gravity, which has brought critically acclaimed performances to 60 cities and 13 countries, and became a crucial platform for the art form in San Francisco and Berlin. In 2017, Curtis launched Gravity Access Services, a leader in accessibility for the performing arts, especially for blind and visually impaired audiences.\u003c/p>\n\u003cp>“I’ve been really interested in finding ways that allow people to experience dance-based performance not just by looking at it,” Curtis \u003ca href=\"https://www.kqed.org/arts/13812697/dances-you-dont-have-to-see-to-appreciate\">told KQED that year\u003c/a>, “but by feeling it whooshing past you, and hearing the performers, describing what’s happening, in poetic ways.”\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Watch:\u003c/strong> Jess Curtis \u003ca href=\"https://ww2.kqed.org/spark/jess-curtis/\">explains his creative process\u003c/a> in a 2015 episode of KQED’s ‘Spark*.’]\u003c/em>\u003c/p>\n\u003cp>Gravity Access Services’ offerings include live, creative audio descriptions of what takes place on stage, haptic tours that invite blind and visually impaired people to feel a performance space before the show, and consulting on accessibility in show logistics and marketing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Gravity was really my main entrance into dance because a lot of dancers or disabled people aren’t welcome in traditional training [spaces],” dancer and Gravity Access Services consultant \u003ca href=\"https://www.kqed.org/arts/13921184/jess-curtis-gravity-dance-accessibility-disability-justice\">Tiffany Taylor told KQED in 2022\u003c/a>. “Jess turned the table and said, ‘You are welcome on this stage.’”\u003c/p>\n\u003cp>Most recently, in November 2023, Gravity’s performance \u003cem>Into the Dark\u003c/em> at CounterPulse invited audiences into a nearly dark space where narration and occasional, sparse light conveyed a dance performance that \u003cem>San Francisco Chronicle\u003c/em> critic Rachel Howard described as both “profoundly discomforting” and “surprisingly life-affirming.”\u003c/p>\n\u003cp>On Keith Hennessy’s Instagram post, dancers and friends responded with an outpouring of love for Curtis as an artist, mentor and friend.\u003c/p>\n\u003cp>“I think it’s important to express gratitude for his immense support of my practice and many others. It would be no exaggeration to say that he helped me be the person I am today,” wrote artist Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>“I’m at a loss. Jess was such an amazing performer, choreographer and leader. So vibrant and full of life on his bicycle, brilliant in the studio, and a delightful, marvelously aware presence to chop it up with,” wrote Ted Russell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plans for a memorial will be announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13921238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg\" alt=\"Jess Curtis, a white man with short white hair and a black T-shirt, looks into the camera.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jess-Curtis-photo-by-Sven-Hagolani-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jess Curtis championed accessibility in the performing arts for blind and visually impaired people. \u003ccite>(Sven Hagolani)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dancer and choreographer Jess Curtis, a champion of accessibility in the performing arts, has died, according to \u003ca href=\"https://www.instagram.com/p/C4ceCmKx3m7/?hl=en\">an announcement\u003c/a> on Instagram from his sister Jenene, close collaborator Keith Hennessy and several others. On Instagram, Hennessy posted that Curtis collapsed from an apparent heart issue during a bike ride in San Francisco on March 11 and passed away unexpectedly.\u003c/p>\n\u003cp>“Jess’ community of friends and peers is deep and wide,” the statement reads. “The positive impact of his creative work will be felt for years. Earlier that same day Jess expressed gratitude for the wonderful life and network of friends he was enjoying. We are all in shock and deep grief.”\u003c/p>\n\u003cp>Curtis had been a major figure in dance for decades. In 2000, he founded the company Gravity, which has brought critically acclaimed performances to 60 cities and 13 countries, and became a crucial platform for the art form in San Francisco and Berlin. In 2017, Curtis launched Gravity Access Services, a leader in accessibility for the performing arts, especially for blind and visually impaired audiences.\u003c/p>\n\u003cp>“I’ve been really interested in finding ways that allow people to experience dance-based performance not just by looking at it,” Curtis \u003ca href=\"https://www.kqed.org/arts/13812697/dances-you-dont-have-to-see-to-appreciate\">told KQED that year\u003c/a>, “but by feeling it whooshing past you, and hearing the performers, describing what’s happening, in poetic ways.”\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Watch:\u003c/strong> Jess Curtis \u003ca href=\"https://ww2.kqed.org/spark/jess-curtis/\">explains his creative process\u003c/a> in a 2015 episode of KQED’s ‘Spark*.’]\u003c/em>\u003c/p>\n\u003cp>Gravity Access Services’ offerings include live, creative audio descriptions of what takes place on stage, haptic tours that invite blind and visually impaired people to feel a performance space before the show, and consulting on accessibility in show logistics and marketing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Gravity was really my main entrance into dance because a lot of dancers or disabled people aren’t welcome in traditional training [spaces],” dancer and Gravity Access Services consultant \u003ca href=\"https://www.kqed.org/arts/13921184/jess-curtis-gravity-dance-accessibility-disability-justice\">Tiffany Taylor told KQED in 2022\u003c/a>. “Jess turned the table and said, ‘You are welcome on this stage.’”\u003c/p>\n\u003cp>Most recently, in November 2023, Gravity’s performance \u003cem>Into the Dark\u003c/em> at CounterPulse invited audiences into a nearly dark space where narration and occasional, sparse light conveyed a dance performance that \u003cem>San Francisco Chronicle\u003c/em> critic Rachel Howard described as both “profoundly discomforting” and “surprisingly life-affirming.”\u003c/p>\n\u003cp>On Keith Hennessy’s Instagram post, dancers and friends responded with an outpouring of love for Curtis as an artist, mentor and friend.\u003c/p>\n\u003cp>“I think it’s important to express gratitude for his immense support of my practice and many others. It would be no exaggeration to say that he helped me be the person I am today,” wrote artist Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>“I’m at a loss. Jess was such an amazing performer, choreographer and leader. So vibrant and full of life on his bicycle, brilliant in the studio, and a delightful, marvelously aware presence to chop it up with,” wrote Ted Russell.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plans for a memorial will be announced.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91",
"headTitle": "Chita Rivera, Broadway’s ‘First Great Triple Threat,’ Dies at 91 | KQED",
"content": "\u003cfigure id=\"attachment_13951265\" class=\"wp-caption aligncenter\" style=\"max-width: 2046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg\" alt=\"A smiling woman sits for a photographic portrait.\" width=\"2046\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg 2046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1637x2048.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1920x2402.jpg 1920w\" sizes=\"(max-width: 2046px) 100vw, 2046px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera in May 1977. \u003ccite>(Evening Standard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chita Rivera, who appeared in more than 20 Broadway musicals over six decades has died, according to her daughter, Lisa Mordente. The three-time Tony Award-winning Broadway legend created indelible roles — Anita in \u003cem>West Side Story\u003c/em>, Rose in \u003cem>Bye Bye Birdie\u003c/em>, Velma Kelly in \u003cem>Chicago\u003c/em>, and Aurora in \u003cem>Kiss of the Spiderwoman\u003c/em>. She was 91.\u003c/p>\n\u003cp>Rivera “was everything Broadway was meant to be,” says Laurence Maslon, co-producer of the 2004 PBS series, \u003cem>Broadway: The American Musical\u003c/em>. “She was spontaneous and compelling and talented as hell for decades and decades on Broadway. Once you saw her, you never forgot her.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g9_fi5ZmqyU\u003c/p>\n\u003cp>You might think Chita Rivera was a Broadway baby from childhood — but she wasn’t. Born Dolores Conchita Figueroa del Rivero in Washington, D.C., she \u003ca href=\"https://youtu.be/IPZBX8SiySA?si=ELIWcuAvLBe7puIV&t=448\">told an audience\u003c/a> at a Screen Actors Guild Foundation interview that she was a tomboy and drove her mother crazy: “She said, ‘I’m putting you in ballet class so that we can rein in some of that energy.’ So I am very grateful.”\u003c/p>\n\u003cp>Rivera took to ballet so completely that she got a full scholarship to the School of American Ballet in New York. But when she went with a friend to an audition for the tour of the Broadway show \u003cem>Call Me Madam\u003c/em>, Rivera got the job. Goodbye ballet, hello Broadway. In 1957, she landed her breakout role, Anita in \u003cem>West Side Story, \u003c/em>with a score by Leonard Bernstein and Stephen Sondheim.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hearing ‘America’ was just mind-boggling, with that rhythm,” Rivera \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14744266\">told NPR \u003c/a>in 2007 for the musical’s 50th anniversary. “I just couldn’t wait to do it. It was such a challenge. And, being Latin, you know, it was a welcoming sound.”\u003c/p>\n\u003cfigure id=\"attachment_13951270\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png\" alt=\"\" width=\"1294\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-800x780.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-1020x995.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-768x749.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, center, works with choreographer Jerome Robbins, second from left, and her fellow ‘West Side Story’ cast members in a rehearsal on July 22, 1957. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>West Side Story\u003c/em> allowed Rivera to reveal not only her athletic dancing chops, but her acting and singing chops. She recalls Leonard Bernstein teaching her the score himself: “I remember sitting next to Lenny and his starting with ‘A Boy Like That,’ teaching it to me and me saying, ‘I’ll never do this, I can’t hit those notes, I don’t know how to hit those notes.’ ”\u003c/p>\n\u003cp>But she did hit them, and being able to sing, act and dance made her a valuable Broadway commodity, said Maslon. “She was the first great triple threat. Broadway directors like Jerome Robbins and Bob Fosse saw the need to have performers who could do all three things and do them really well.”\u003c/p>\n\u003cp>And, from 1960 to 2013, she headlined some big hits — as well as some major flops. In 1986, Rivera was in a serious taxi accident. Her left leg was shattered, and the doctors said she’d never dance again, but she did — just differently.\u003c/p>\n\u003cfigure id=\"attachment_13951271\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png\" alt=\"A young woman and an older woman stand on stage, arms outstretched towards one another.\" width=\"1298\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-768x509.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, right, and Michelle Veintimilla perform at the Tony Awards at Radio City Music Hall on June 7, 2015 in New York City. \u003ccite>(Theo Wargo/ Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all have to be realistic,” she \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5048067\">told NPR\u003c/a> in 2005. “I don’t do flying splits anymore. I don’t do back flips and all the stuff that I used to do. You want to know something? I don’t want to.”\u003c/p>\n\u003cp>But her stardom never diminished. And the accolades flowed: she won several Tony Awards, including one for lifetime achievement, a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=871162\">Kennedy Center honor\u003c/a>, and a Presidential Medal of Freedom. Rivera didn’t do much television or film — she was completely devoted to the stage, says Maslon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s why they’re called Broadway legends,” he says. “Hopefully you get to see them live because you’ll never get to see them in another form in quite the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13951272\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png\" alt=\"\" width=\"1290\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-768x507.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera receives the Presidential Medal of Freedom from former president Barack Obama during a ceremony at the White House on Aug. 12, 2009. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Chita+Rivera%2C+Broadway%27s+%27First+Great+Triple+Threat%2C%27+dies+at+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951265\" class=\"wp-caption aligncenter\" style=\"max-width: 2046px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951265\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg\" alt=\"A smiling woman sits for a photographic portrait.\" width=\"2046\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-scaled.jpg 2046w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1020x1276.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1228x1536.jpg 1228w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1637x2048.jpg 1637w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/gettyimages-3318072_enl-3b553c8e9e94b4f8a48c717d3b03be854617faea-1920x2402.jpg 1920w\" sizes=\"(max-width: 2046px) 100vw, 2046px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera in May 1977. \u003ccite>(Evening Standard/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chita Rivera, who appeared in more than 20 Broadway musicals over six decades has died, according to her daughter, Lisa Mordente. The three-time Tony Award-winning Broadway legend created indelible roles — Anita in \u003cem>West Side Story\u003c/em>, Rose in \u003cem>Bye Bye Birdie\u003c/em>, Velma Kelly in \u003cem>Chicago\u003c/em>, and Aurora in \u003cem>Kiss of the Spiderwoman\u003c/em>. She was 91.\u003c/p>\n\u003cp>Rivera “was everything Broadway was meant to be,” says Laurence Maslon, co-producer of the 2004 PBS series, \u003cem>Broadway: The American Musical\u003c/em>. “She was spontaneous and compelling and talented as hell for decades and decades on Broadway. Once you saw her, you never forgot her.”\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/g9_fi5ZmqyU'\n title='//www.youtube.com/embed/g9_fi5ZmqyU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You might think Chita Rivera was a Broadway baby from childhood — but she wasn’t. Born Dolores Conchita Figueroa del Rivero in Washington, D.C., she \u003ca href=\"https://youtu.be/IPZBX8SiySA?si=ELIWcuAvLBe7puIV&t=448\">told an audience\u003c/a> at a Screen Actors Guild Foundation interview that she was a tomboy and drove her mother crazy: “She said, ‘I’m putting you in ballet class so that we can rein in some of that energy.’ So I am very grateful.”\u003c/p>\n\u003cp>Rivera took to ballet so completely that she got a full scholarship to the School of American Ballet in New York. But when she went with a friend to an audition for the tour of the Broadway show \u003cem>Call Me Madam\u003c/em>, Rivera got the job. Goodbye ballet, hello Broadway. In 1957, she landed her breakout role, Anita in \u003cem>West Side Story, \u003c/em>with a score by Leonard Bernstein and Stephen Sondheim.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hearing ‘America’ was just mind-boggling, with that rhythm,” Rivera \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=14744266\">told NPR \u003c/a>in 2007 for the musical’s 50th anniversary. “I just couldn’t wait to do it. It was such a challenge. And, being Latin, you know, it was a welcoming sound.”\u003c/p>\n\u003cfigure id=\"attachment_13951270\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951270\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png\" alt=\"\" width=\"1294\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-800x780.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-1020x995.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-160x156.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.24.19-PM-768x749.png 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, center, works with choreographer Jerome Robbins, second from left, and her fellow ‘West Side Story’ cast members in a rehearsal on July 22, 1957. \u003ccite>(AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>West Side Story\u003c/em> allowed Rivera to reveal not only her athletic dancing chops, but her acting and singing chops. She recalls Leonard Bernstein teaching her the score himself: “I remember sitting next to Lenny and his starting with ‘A Boy Like That,’ teaching it to me and me saying, ‘I’ll never do this, I can’t hit those notes, I don’t know how to hit those notes.’ ”\u003c/p>\n\u003cp>But she did hit them, and being able to sing, act and dance made her a valuable Broadway commodity, said Maslon. “She was the first great triple threat. Broadway directors like Jerome Robbins and Bob Fosse saw the need to have performers who could do all three things and do them really well.”\u003c/p>\n\u003cp>And, from 1960 to 2013, she headlined some big hits — as well as some major flops. In 1986, Rivera was in a serious taxi accident. Her left leg was shattered, and the doctors said she’d never dance again, but she did — just differently.\u003c/p>\n\u003cfigure id=\"attachment_13951271\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951271\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png\" alt=\"A young woman and an older woman stand on stage, arms outstretched towards one another.\" width=\"1298\" height=\"860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.25.58-PM-768x509.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera, right, and Michelle Veintimilla perform at the Tony Awards at Radio City Music Hall on June 7, 2015 in New York City. \u003ccite>(Theo Wargo/ Getty Images for Tony Awards Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We all have to be realistic,” she \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5048067\">told NPR\u003c/a> in 2005. “I don’t do flying splits anymore. I don’t do back flips and all the stuff that I used to do. You want to know something? I don’t want to.”\u003c/p>\n\u003cp>But her stardom never diminished. And the accolades flowed: she won several Tony Awards, including one for lifetime achievement, a \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=871162\">Kennedy Center honor\u003c/a>, and a Presidential Medal of Freedom. Rivera didn’t do much television or film — she was completely devoted to the stage, says Maslon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s why they’re called Broadway legends,” he says. “Hopefully you get to see them live because you’ll never get to see them in another form in quite the same way.”\u003c/p>\n\u003cfigure id=\"attachment_13951272\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951272\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png\" alt=\"\" width=\"1290\" height=\"852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-30-at-2.28.09-PM-768x507.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Chita Rivera receives the Presidential Medal of Freedom from former president Barack Obama during a ceremony at the White House on Aug. 12, 2009. \u003ccite>(Chip Somodevilla/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. 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"content": "\u003cp>Dejan Milojević, an assistant coach for the Golden State Warriors, died unexpectedly from a heart attack on Wednesday. He was 46.\u003c/p>\n\u003cp>The team said Wednesday morning Milojević had been hospitalized the night before during a team dinner in Salt Lake City. About an hour after the team’s announcement, \u003ca href=\"https://twitter.com/WarriorsPR/status/1747649384089808930\">the NBA postponed\u003c/a> the Warriors’ Wednesday night game against the Utah Jazz.\u003c/p>\n\u003cp>At about 3:30 p.m., the team announced Milojević’s death.\u003c/p>\n\u003cp>“We are absolutely devastated by Dejan’s sudden passing,” head coach Steve Kerr said. “This is a shocking tragic blow for everyone associated with the Warriors and an incredibly difficult time for his family, friends, and all of us who had the incredible pleasure to work with him.”\u003c/p>\n\u003cp>Kerr added, “In addition to being a terrific basketball coach, Dejan was one of the most positive and beautiful human beings I have ever known, someone who brought joy and light to every single day with his passion and energy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Milojević is survived by his wife, Natasa, and his children, Nikola and Masa.\u003c/p>\n\u003cp>Milojević, a native of Belgrade, Serbia, was in his third season as the assistant coach with the Warriors. Before that, he spent one season as the head coach of the Budućnost team in the Adriatic Basketball Association league in Montenegro. He additionally was the head coach for the Mega Basket team, in Belgrade for eight years, and participated in summer leagues for the Atlanta Hawks, San Antonio Spurs and Houston Rockets.\u003c/p>\n\u003cp>“The NBA mourns the sudden passing of Golden State assistant coach Dejan Milojević, a beloved colleague and dear friend to so many in the global basketball community,” NBA Commissioner Adam Silver said.\u003c/p>\n\u003cp>Prior to his coaching career, Milojević played professional basketball for 14 seasons internationally, and was named the most valuable player of the Adriatic league three times in a row, from 2004 to 2006.\u003c/p>\n\u003cp>“The ABA Liga family is deeply saddened by the too-early passing of Dejan Milojević, we express our deepest condolences to his loved ones,” \u003ca href=\"https://www.aba-liga.com/news/50286/the-aba-league-family-mourns-the-loss-of-dejan-milojevic/\">the Adriatic league said.\u003c/a> “Dejan was a player, coach, and most importantly a great man, he gave us many legendary memories both on and off the court.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ABA league said it would hold a minute of silence for Milojević in several of its games, while the Los Angeles Lakers \u003ca href=\"https://youtu.be/8kd7MSWDmWA?si=82DMlnbp6SiPOBfB\">held a minute of silence\u003c/a> for Milojević in its Wednesday night game against the Dallas Mavericks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dejan+Milojevi%C4%87%2C+the+Golden+State+Warriors+assistant+coach%2C+has+died+at+46&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Milojević is survived by his wife, Natasa, and his children, Nikola and Masa.\u003c/p>\n\u003cp>Milojević, a native of Belgrade, Serbia, was in his third season as the assistant coach with the Warriors. Before that, he spent one season as the head coach of the Budućnost team in the Adriatic Basketball Association league in Montenegro. He additionally was the head coach for the Mega Basket team, in Belgrade for eight years, and participated in summer leagues for the Atlanta Hawks, San Antonio Spurs and Houston Rockets.\u003c/p>\n\u003cp>“The NBA mourns the sudden passing of Golden State assistant coach Dejan Milojević, a beloved colleague and dear friend to so many in the global basketball community,” NBA Commissioner Adam Silver said.\u003c/p>\n\u003cp>Prior to his coaching career, Milojević played professional basketball for 14 seasons internationally, and was named the most valuable player of the Adriatic league three times in a row, from 2004 to 2006.\u003c/p>\n\u003cp>“The ABA Liga family is deeply saddened by the too-early passing of Dejan Milojević, we express our deepest condolences to his loved ones,” \u003ca href=\"https://www.aba-liga.com/news/50286/the-aba-league-family-mourns-the-loss-of-dejan-milojevic/\">the Adriatic league said.\u003c/a> “Dejan was a player, coach, and most importantly a great man, he gave us many legendary memories both on and off the court.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ABA league said it would hold a minute of silence for Milojević in several of its games, while the Los Angeles Lakers \u003ca href=\"https://youtu.be/8kd7MSWDmWA?si=82DMlnbp6SiPOBfB\">held a minute of silence\u003c/a> for Milojević in its Wednesday night game against the Dallas Mavericks.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dejan+Milojevi%C4%87%2C+the+Golden+State+Warriors+assistant+coach%2C+has+died+at+46&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Laura Lynch, a founding member of the Dixie Chicks \u003ci>\u003cspan style=\"font-weight: 400\">—\u003c/span>\u003c/i> now known as The Chicks \u003ci>\u003cspan style=\"font-weight: 400\">— \u003c/span>\u003c/i>died Friday in a car crash in El Paso, Texas. She was 65 years old.\u003c/p>\n\u003cp>The Texas Department of Public Safety confirmed Lynch’s death in a statement to NPR.\u003c/p>\n\u003cp>The musician, who played bass and sang with the influential all-women country music band for four years from its inception in 1989, was traveling eastbound on US 62 when her car, a 2016 Ford F-150, was struck head-on by another vehicle. She was pronounced deceased on the scene by a justice of the peace.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13932116']\u003c/span>The other driver was transported to a nearby hospital with non-life-threatening injuries.\u003c/p>\n\u003cp>Chicks members Emily Strayer, Martie Maguire and Natalie Maines posted a tribute to Lynch on their social media accounts, expressing shock and sadness at the news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/thechicks/status/1738672372528664936?s=20\u003c/p>\n\u003cp>“Laura was a bright light. Her infectious energy and humor gave a spark to the early days of our band,” it said, “Our thoughts are with her family and loved ones at this sad time.”\u003c/p>\n\u003cp>The department of safety said the investigation is ongoing. The Chicks’ representatives did not respond to NPR’s request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postid='arts_13938757']\u003c/span>Lynch co-founded the group in 1989 with sisters Maguire and Strayer (née Erwin), and left the group after recording three albums in 1993. She was replaced by Maines. Initially the group’s bass player, she started singing with the band following the departure of its original vocalist, Robin Lynn Macy, in 1992.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cb>\u003ci>Copyright 2022 NPR. To see more, \u003c/i>\u003c/b>\u003ca href=\"https://www.npr.org\">\u003cb>\u003ci>visit NPR\u003c/i>\u003c/b>\u003c/a>\u003cb>\u003ci>.\u003c/i>\u003c/b>\u003c/div>\n\n",
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"title": "Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65",
"headTitle": "Shane MacGowan of The Pogues, a Laureate of Booze and Beauty, Dies at Age 65 | KQED",
"content": "\u003cfigure id=\"attachment_13938692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg\" alt=\"A thin white man with a beard, wearing sunglasses clutches a microphone on a stand, as he sings into it. He is backlit by stage lights.\" width=\"1920\" height=\"1262\" class=\"size-full wp-image-13938692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shane MacGowan performs with The Pogues in Belgium, November 1989. The celebrated Irish songwriter and singer died Thursday at the age of 65. \u003ccite>(Gie Knaeps /Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane MacGowan, the boozy, rabble-rousing singer and chief songwriter of The Pogues, who infused traditional Irish music with the energy and spirit of punk, died Thursday, his family said. He was 65.\u003c/p>\n\u003cp>MacGowan’s songwriting and persona made him an iconic figure in contemporary Irish culture, and some of his compositions have become classics — most notably the bittersweet Christmas ballad “Fairytale of New York,” which Irish President Michael D. Higgins said “will be listened to every Christmas for the next century or more.”\u003c/p>\n\u003cp>“It is with the deepest sorrow and heaviest of hearts that we announce the passing of our most beautiful, darling and dearly beloved Shane MacGowan,” his wife Victoria Clarke, his sister Siobhan and father Maurice said in a statement.\u003c/p>\n\u003cp>The singer died peacefully with his family by his side, the statement added.\u003c/p>\n\u003cp>The musician had been hospitalized in Dublin for several months after being diagnosed with viral encephalitis in late 2022. He was discharged last week, ahead of his upcoming birthday on Christmas Day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Pogues melded Irish folk and rock ’n’ roll into a unique, intoxicating blend, though MacGowan became as famous for his sozzled, slurred performances as for his powerful songwriting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9jbdgZidu8\u003c/p>\n\u003cp>His songs blended the scabrous and the sentimental, ranging from carousing anthems to snapshots of life in the gutter to unexpectedly tender love songs. The Pogues’ most famous song, “Fairytale of New York” is a tale of down-on-their-luck immigrant lovers that opens with the decidedly unfestive words: “It was Christmas Eve, babe, in the drunk tank.” The duet between the raspy-voiced MacGowan and the velvet tones of the late Kirsty MacColl is by far the most beloved Pogues song in both Ireland and the U.K.\u003c/p>\n\u003cp>Singer-songwriter Nick Cave called Shane MacGowan “a true friend and the greatest songwriter of his generation.”\u003c/p>\n\u003cp>Higgins, the Irish president, said “his songs capture within them, as Shane would put it, the measure of our dreams.”\u003c/p>\n\u003cp>“His words have connected Irish people all over the globe to their culture and history, encompassing so many human emotions in the most poetic of ways,” Higgins said.\u003c/p>\n\u003cp>Irish Prime Minister Leo Varadkar said MacGowan’s songs “beautifully captured the Irish experience, especially the experience of being Irish abroad.”\u003c/p>\n\u003cp>Sinn Fein President Mary Lou McDonald said: “Nobody told the Irish story like Shane — stories of emigration, heartache, dislocation, redemption, love and joy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T-kARXzpgtQ\u003c/p>\n\u003cp>Born on Christmas Day 1957 in England to Irish parents, MacGowan spent his early years in rural Ireland before the family moved back to London. Ireland remained the lifelong center of his imagination and his yearning. He grew up steeped in Irish music absorbed from family and neighbors, along with the sounds of rock, Motown, reggae and jazz.\u003c/p>\n\u003cp>He attended the elite Westminster School in London, from which he was expelled, and spent time in a psychiatric hospital after a breakdown in his teens.\u003c/p>\n\u003cp>MacGowan embraced the punk scene that exploded in Britain in the mid-1970s. He joined a band called the Nipple Erectors, performing under the name Shane O’Hooligan, before forming The Pogues alongside musicians including Jem Finer and Spider Stacey.\u003c/p>\n\u003cp>The Pogues — shortened from the original name Pogue Mahone, a rude Irish phrase — fused punk’s furious energy with traditional Irish melodies and instruments including banjo, tin whistle and accordion.\u003c/p>\n\u003cp>“It never occurred to me that you could play Irish music to a rock audience,” MacGowan recalled in \u003cem>A Drink with Shane MacGowan\u003c/em>, a 2001 memoir co-authored with Clarke. “Then it finally clicked. Start a London Irish band playing Irish music with a rock and roll beat. The original idea was just to rock up old ones but then I started writing.”\u003c/p>\n\u003cp>The band’s first album, \u003cem>Red Roses for Me\u003c/em>, was released in 1984 and featured raucous versions of Irish folk songs alongside originals including “Boys from the County Hell,” “Dark Streets of London” and “Streams of Whisky.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mPpGp_J3z2A\u003c/p>\n\u003cp>Playing pubs and clubs in London and beyond, the band earned a loyal following and praise from music critics and fellow musicians from Bono to Bob Dylan.\u003c/p>\n\u003cp>MacGowan wrote many of the songs on the next two albums, \u003cem>Rum, Sodomy and the Lash\u003c/em> (1985) and \u003cem>If I Should Fall from Grace with God\u003c/em> (1988), ranging from rollicking rousers like the latter album’s title track to ballads like “A Pair of Brown Eyes” and “The Broad Majestic Shannon.”\u003c/p>\n\u003cp>The band also released a 1986 EP, \u003cem>Poguetry in Motion\u003c/em>, which contained two of MacGowan’s finest songs, “A Rainy Night in Soho” and “The Body of an American.” The latter featured prominently in early-2000s TV series \u003cem>The Wire\u003c/em>, sung at the wakes of Baltimore police officers.\u003c/p>\n\u003cp>“I wanted to make pure music that could be from any time, to make time irrelevant, to make generations and decades irrelevant,” he recalled in his memoir.\u003c/p>\n\u003cp>The Pogues were briefly on top of the world, with sold-out tours and appearances on U.S. television, but the band’s output and appearances grew more erratic, due in part to MacGowan’s struggles with alcohol and drugs. He was fired by the other band members in 1991 after they became fed up with a string of no-shows, including when The Pogues were opening for Dylan. The band briefly replaced MacGowan with Clash frontman Joe Strummer before breaking up.\u003c/p>\n\u003cp>MacGowan performed with a new band, Shane MacGowan and the Popes, with whom he put out two albums: \u003cem>The Snake\u003c/em> in 1995 and \u003cem>The Crock Of Gold\u003c/em> in 1997. He reunited with The Pogues in 2001 for a series of concerts and tours, despite his well-documented problems with drinking and performances that regularly included slurred lyrics and at least one fall on stage.\u003c/p>\n\u003cp>MacGowan had years of health problems and used a wheelchair after breaking his pelvis a decade ago. He was long famous for his broken, rotten teeth until receiving a full set of implants in 2015 from a dental surgeon who described the procedure as “the Everest of dentistry.”\u003c/p>\n\u003cp>MacGowan received a lifetime achievement award from the Irish president on his 60th birthday. The occasion was marked with a celebratory concert at the National Concert Hall in Dublin with performers including Bono, Nick Cave, Sinead O’Connor and Johnny Depp.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgYml2eokLA\u003c/p>\n\u003cp>Clarke wrote on Instagram that “there’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I am blessed beyond words to have met him and to have loved him and to have been so endlessly and unconditionally loved by him and to have had so many years of life and love and joy and fun and laughter and so many adventures,” she wrote.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg\" alt=\"A thin white man with a beard, wearing sunglasses clutches a microphone on a stand, as he sings into it. He is backlit by stage lights.\" width=\"1920\" height=\"1262\" class=\"size-full wp-image-13938692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shane MacGowan performs with The Pogues in Belgium, November 1989. The celebrated Irish songwriter and singer died Thursday at the age of 65. \u003ccite>(Gie Knaeps /Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane MacGowan, the boozy, rabble-rousing singer and chief songwriter of The Pogues, who infused traditional Irish music with the energy and spirit of punk, died Thursday, his family said. He was 65.\u003c/p>\n\u003cp>MacGowan’s songwriting and persona made him an iconic figure in contemporary Irish culture, and some of his compositions have become classics — most notably the bittersweet Christmas ballad “Fairytale of New York,” which Irish President Michael D. Higgins said “will be listened to every Christmas for the next century or more.”\u003c/p>\n\u003cp>“It is with the deepest sorrow and heaviest of hearts that we announce the passing of our most beautiful, darling and dearly beloved Shane MacGowan,” his wife Victoria Clarke, his sister Siobhan and father Maurice said in a statement.\u003c/p>\n\u003cp>The singer died peacefully with his family by his side, the statement added.\u003c/p>\n\u003cp>The musician had been hospitalized in Dublin for several months after being diagnosed with viral encephalitis in late 2022. He was discharged last week, ahead of his upcoming birthday on Christmas Day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Pogues melded Irish folk and rock ’n’ roll into a unique, intoxicating blend, though MacGowan became as famous for his sozzled, slurred performances as for his powerful songwriting.\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/j9jbdgZidu8'\n title='//www.youtube.com/embed/j9jbdgZidu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His songs blended the scabrous and the sentimental, ranging from carousing anthems to snapshots of life in the gutter to unexpectedly tender love songs. The Pogues’ most famous song, “Fairytale of New York” is a tale of down-on-their-luck immigrant lovers that opens with the decidedly unfestive words: “It was Christmas Eve, babe, in the drunk tank.” The duet between the raspy-voiced MacGowan and the velvet tones of the late Kirsty MacColl is by far the most beloved Pogues song in both Ireland and the U.K.\u003c/p>\n\u003cp>Singer-songwriter Nick Cave called Shane MacGowan “a true friend and the greatest songwriter of his generation.”\u003c/p>\n\u003cp>Higgins, the Irish president, said “his songs capture within them, as Shane would put it, the measure of our dreams.”\u003c/p>\n\u003cp>“His words have connected Irish people all over the globe to their culture and history, encompassing so many human emotions in the most poetic of ways,” Higgins said.\u003c/p>\n\u003cp>Irish Prime Minister Leo Varadkar said MacGowan’s songs “beautifully captured the Irish experience, especially the experience of being Irish abroad.”\u003c/p>\n\u003cp>Sinn Fein President Mary Lou McDonald said: “Nobody told the Irish story like Shane — stories of emigration, heartache, dislocation, redemption, love and joy.”\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/T-kARXzpgtQ'\n title='//www.youtube.com/embed/T-kARXzpgtQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born on Christmas Day 1957 in England to Irish parents, MacGowan spent his early years in rural Ireland before the family moved back to London. Ireland remained the lifelong center of his imagination and his yearning. He grew up steeped in Irish music absorbed from family and neighbors, along with the sounds of rock, Motown, reggae and jazz.\u003c/p>\n\u003cp>He attended the elite Westminster School in London, from which he was expelled, and spent time in a psychiatric hospital after a breakdown in his teens.\u003c/p>\n\u003cp>MacGowan embraced the punk scene that exploded in Britain in the mid-1970s. He joined a band called the Nipple Erectors, performing under the name Shane O’Hooligan, before forming The Pogues alongside musicians including Jem Finer and Spider Stacey.\u003c/p>\n\u003cp>The Pogues — shortened from the original name Pogue Mahone, a rude Irish phrase — fused punk’s furious energy with traditional Irish melodies and instruments including banjo, tin whistle and accordion.\u003c/p>\n\u003cp>“It never occurred to me that you could play Irish music to a rock audience,” MacGowan recalled in \u003cem>A Drink with Shane MacGowan\u003c/em>, a 2001 memoir co-authored with Clarke. “Then it finally clicked. Start a London Irish band playing Irish music with a rock and roll beat. The original idea was just to rock up old ones but then I started writing.”\u003c/p>\n\u003cp>The band’s first album, \u003cem>Red Roses for Me\u003c/em>, was released in 1984 and featured raucous versions of Irish folk songs alongside originals including “Boys from the County Hell,” “Dark Streets of London” and “Streams of Whisky.”\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/mPpGp_J3z2A'\n title='//www.youtube.com/embed/mPpGp_J3z2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing pubs and clubs in London and beyond, the band earned a loyal following and praise from music critics and fellow musicians from Bono to Bob Dylan.\u003c/p>\n\u003cp>MacGowan wrote many of the songs on the next two albums, \u003cem>Rum, Sodomy and the Lash\u003c/em> (1985) and \u003cem>If I Should Fall from Grace with God\u003c/em> (1988), ranging from rollicking rousers like the latter album’s title track to ballads like “A Pair of Brown Eyes” and “The Broad Majestic Shannon.”\u003c/p>\n\u003cp>The band also released a 1986 EP, \u003cem>Poguetry in Motion\u003c/em>, which contained two of MacGowan’s finest songs, “A Rainy Night in Soho” and “The Body of an American.” The latter featured prominently in early-2000s TV series \u003cem>The Wire\u003c/em>, sung at the wakes of Baltimore police officers.\u003c/p>\n\u003cp>“I wanted to make pure music that could be from any time, to make time irrelevant, to make generations and decades irrelevant,” he recalled in his memoir.\u003c/p>\n\u003cp>The Pogues were briefly on top of the world, with sold-out tours and appearances on U.S. television, but the band’s output and appearances grew more erratic, due in part to MacGowan’s struggles with alcohol and drugs. He was fired by the other band members in 1991 after they became fed up with a string of no-shows, including when The Pogues were opening for Dylan. The band briefly replaced MacGowan with Clash frontman Joe Strummer before breaking up.\u003c/p>\n\u003cp>MacGowan performed with a new band, Shane MacGowan and the Popes, with whom he put out two albums: \u003cem>The Snake\u003c/em> in 1995 and \u003cem>The Crock Of Gold\u003c/em> in 1997. He reunited with The Pogues in 2001 for a series of concerts and tours, despite his well-documented problems with drinking and performances that regularly included slurred lyrics and at least one fall on stage.\u003c/p>\n\u003cp>MacGowan had years of health problems and used a wheelchair after breaking his pelvis a decade ago. He was long famous for his broken, rotten teeth until receiving a full set of implants in 2015 from a dental surgeon who described the procedure as “the Everest of dentistry.”\u003c/p>\n\u003cp>MacGowan received a lifetime achievement award from the Irish president on his 60th birthday. The occasion was marked with a celebratory concert at the National Concert Hall in Dublin with performers including Bono, Nick Cave, Sinead O’Connor and Johnny Depp.\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/BgYml2eokLA'\n title='//www.youtube.com/embed/BgYml2eokLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clarke wrote on Instagram that “there’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8K4DMOMQ/\u003c/p>\n\u003cp>“Oh boy this one has cut deep… Having to say goodbye to our Matty has been an insane wave of emotions that I’ve never experienced before,” Aniston’s post read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kudrow became the fifth \u003cem>Friends\u003c/em> star to pay personal tribute to Perry amid the wave of mourning.\u003c/p>\n\u003cp>“Thank you for making me laugh so hard at something you said, that my muscles ached, and tears poured down my face EVERY DAY,” she said in an \u003ca href=\"https://www.instagram.com/p/CzrZeG5P0n6/\">Instagram post\u003c/a>. “Thank you for the best 10 years a person gets to have.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CzrZeG5P0n6/\u003c/p>\n\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8sxqrU0c/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CzohLcIRk3Y/\">LeBlanc posted Tuesday\u003c/a>: “It was an honor to share the stage with you and to call you my friend. I will always smile when I think of you and I’ll never forget you. Never.” His post included one candid shot of the cast all hugging on set.\u003c/p>\n\u003cp>https://www.instagram.com/p/CzohLcIRk3Y/\u003c/p>\n\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>[aside postid='pop_108851']“In this scene, before we started rolling, he whispered a funny line for me to say,” Cox posted. “He often did things like that. He was funny and he was kind.”\u003c/p>\n\u003cp>“I am so grateful for every moment I had with you Matty and I miss you every day,” she wrote.\u003c/p>\n\u003cp>Most of the posts references how sweet, funny and thoughtful Perry was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LeBlanc ended his note with a bit of comedy, writing: “Spread your wings and fly brother you’re finally free. Much love. And I guess you’re keeping the 20 bucks you owe me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Oh boy this one has cut deep… Having to say goodbye to our Matty has been an insane wave of emotions that I’ve never experienced before,” Aniston’s post read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kudrow became the fifth \u003cem>Friends\u003c/em> star to pay personal tribute to Perry amid the wave of mourning.\u003c/p>\n\u003cp>“Thank you for making me laugh so hard at something you said, that my muscles ached, and tears poured down my face EVERY DAY,” she said in an \u003ca href=\"https://www.instagram.com/p/CzrZeG5P0n6/\">Instagram post\u003c/a>. “Thank you for the best 10 years a person gets to have.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/p/CzohLcIRk3Y/\">LeBlanc posted Tuesday\u003c/a>: “It was an honor to share the stage with you and to call you my friend. I will always smile when I think of you and I’ll never forget you. Never.” His post included one candid shot of the cast all hugging on set.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In this scene, before we started rolling, he whispered a funny line for me to say,” Cox posted. “He often did things like that. He was funny and he was kind.”\u003c/p>\n\u003cp>“I am so grateful for every moment I had with you Matty and I miss you every day,” she wrote.\u003c/p>\n\u003cp>Most of the posts references how sweet, funny and thoughtful Perry was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LeBlanc ended his note with a bit of comedy, writing: “Spread your wings and fly brother you’re finally free. Much love. And I guess you’re keeping the 20 bucks you owe me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Matthew Perry, Emmy-Nominated ‘Friends’ Star, Has Died at 54, Reports Say",
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"content": "\u003cp>Matthew Perry, who starred as sarcastic-but-sweet Chandler Bing in the hit series \u003cem>Friends\u003c/em>, has died. He was 54.\u003c/p>\n\u003cp>The Emmy-nominated actor was found dead of an apparent drowning at his Los Angeles home Saturday, according to the \u003cem>Los Angeles Times\u003c/em> and celebrity website TMZ, which was the first to report the news. Both outlets cited unnamed sources confirming Perry’s death.\u003c/p>\n\u003cp>[aside postid='pop_108851']His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13897888']Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Smash Mouth Frontman Steve Harwell Dies at 56",
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"content": "\u003cp>Steve Harwell, the longtime frontman of the San Jose-based, Grammy-nominated pop rock band Smash Mouth has died. He was 56.\u003c/p>\n\u003cp>The band’s manager, Robert Hayes, said Harwell “passed peacefully and comfortably” Monday morning surrounded by family and friends at his home in Boise, Idaho. The cause of death was acute liver failure, Hayes said in a statement.\u003c/p>\n\u003cp>Smash Mouth was known for hits including the \u003cem>Shrek\u003c/em>-featured “All Star” and “Walkin’ on the Sun.” \u003c/p>\n\u003cp>“Steve Harwell was a true American Original. A larger-than-life character who shot up into the sky like a Roman candle,” Hayes said. “Steve should be remembered for his unwavering focus and impassioned determination to reach the heights of pop stardom.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L_jWHffIx5E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in California in 1967, Harwell performed in a rap group called F.O.S. (Freedom of Speech) before forming Smash Mouth in 1994. Early support of the band came from Bay Area radio station KOME, who began playing the song “Nervous in the Alley,” helping Smash Mouth gain attention.\u003c/p>\n\u003cp>The band released two platinum albums on Interscope Records, the ska-fueled 1997’s \u003cem>Fush Yu Mang\u003c/em> and 1999’s \u003cem>Astro Lounge\u003c/em>. The second album featured some of the band’s biggest hits, including the Grammy-nominated, platinum single “All Star,” which appeared in the movie \u003cem>Shrek\u003c/em> alongside their cover of the Monkees’ “I’m a Believer.”\u003c/p>\n\u003cp>Humor was a driving force behind Smash Mouth’s success, and at the forefront was Harwell’s playful alt-rock voice and persona. He made a cameo in 2001 comedy film “Rat Race,” and had a well-documented friendship with the Food Network chef and host Guy Fieri, once \u003ca href=\"https://www.youtube.com/watch?v=clyEcrwuXfk\">collaborating together on an egg-eating challenge for charity\u003c/a> in Dublin, California.\u003c/p>\n\u003cp>“His only tools were his irrepressible charm and charisma, his fearlessly reckless ambition, and his king-size cajones,” Hayes said. “Steve lived a 100% full-throttle life. Burning brightly across the universe before burning out.”\u003c/p>\n\u003cp>https://youtu.be/0mYBSayCsH0?si=JSFVRhRcTSMlLNEi\u003c/p>\n\u003cp>Harwell’s stage antics were unpredictable and well documented. In a 2014 appearance in Napa at the BottleRock music festival, he spent much of the set delivering obscenity-laden insults to fellow 1990s band Third Eye Blind.\u003c/p>\n\u003cp>Nothing, however, could stop the momentum of Smash Mouth’s biggest hit. While the \u003cem>Shrek\u003c/em> generation transitioned into adulthood, “All Star” would go on to become a widespread meme, being \u003ca href=\"https://www.youtube.com/watch?v=eT3BFzSD6YY\">remixed\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=rLz1gBKk-t8\">mangled\u003c/a> by clever internet users. \u003c/p>\n\u003cp>Harwell left Smash Mouth in 2021 and the band continued to tour with Zach Goode as the singer. The band released a statement at the time saying Harwell had been diagnosed with cardiomyopathy eight years earlier, and had suffered “nonstop serious medical setbacks including heart failure as well as acute Wernicke Encephalopathy.”\u003c/p>\n\u003cp>Hayes had released a statement on Sunday saying Harwell was in hospice care.\u003c/p>\n\u003cp>Harwell will be cremated in Boise and buried in San Jose, California, alongside his mother, Hayes said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline contributed reporting.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in California in 1967, Harwell performed in a rap group called F.O.S. (Freedom of Speech) before forming Smash Mouth in 1994. Early support of the band came from Bay Area radio station KOME, who began playing the song “Nervous in the Alley,” helping Smash Mouth gain attention.\u003c/p>\n\u003cp>The band released two platinum albums on Interscope Records, the ska-fueled 1997’s \u003cem>Fush Yu Mang\u003c/em> and 1999’s \u003cem>Astro Lounge\u003c/em>. The second album featured some of the band’s biggest hits, including the Grammy-nominated, platinum single “All Star,” which appeared in the movie \u003cem>Shrek\u003c/em> alongside their cover of the Monkees’ “I’m a Believer.”\u003c/p>\n\u003cp>Humor was a driving force behind Smash Mouth’s success, and at the forefront was Harwell’s playful alt-rock voice and persona. He made a cameo in 2001 comedy film “Rat Race,” and had a well-documented friendship with the Food Network chef and host Guy Fieri, once \u003ca href=\"https://www.youtube.com/watch?v=clyEcrwuXfk\">collaborating together on an egg-eating challenge for charity\u003c/a> in Dublin, California.\u003c/p>\n\u003cp>“His only tools were his irrepressible charm and charisma, his fearlessly reckless ambition, and his king-size cajones,” Hayes said. “Steve lived a 100% full-throttle life. Burning brightly across the universe before burning out.”\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/0mYBSayCsH0'\n title='//www.youtube.com/embed/0mYBSayCsH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harwell’s stage antics were unpredictable and well documented. In a 2014 appearance in Napa at the BottleRock music festival, he spent much of the set delivering obscenity-laden insults to fellow 1990s band Third Eye Blind.\u003c/p>\n\u003cp>Nothing, however, could stop the momentum of Smash Mouth’s biggest hit. While the \u003cem>Shrek\u003c/em> generation transitioned into adulthood, “All Star” would go on to become a widespread meme, being \u003ca href=\"https://www.youtube.com/watch?v=eT3BFzSD6YY\">remixed\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=rLz1gBKk-t8\">mangled\u003c/a> by clever internet users. \u003c/p>\n\u003cp>Harwell left Smash Mouth in 2021 and the band continued to tour with Zach Goode as the singer. The band released a statement at the time saying Harwell had been diagnosed with cardiomyopathy eight years earlier, and had suffered “nonstop serious medical setbacks including heart failure as well as acute Wernicke Encephalopathy.”\u003c/p>\n\u003cp>Hayes had released a statement on Sunday saying Harwell was in hospice care.\u003c/p>\n\u003cp>Harwell will be cremated in Boise and buried in San Jose, California, alongside his mother, Hayes said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Gabe Meline contributed reporting.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tributes to Angus Cloud Pour in From Oakland",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Zendaya, Kehlani, Kev Choice and friends remember the charismatic ‘Euphoria’ star who died just three weeks after turning 25.",
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"title": "Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Angus Cloud, Breakout Star of ‘Euphoria,’ Is Dead at 25",
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"content": "\u003cp>Angus Cloud, the actor who starred as the drug dealer Fezco “Fez” O’Neill on the HBO series \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em>\u003c/a>, has died. He was 25.\u003c/p>\n\u003cp>Cloud’s publicist, Cait Bailey, said Cloud died Monday at his family home in Oakland, California. No cause of death was given.\u003c/p>\n\u003cp>In a statement, Cloud’s family said goodbye to “an artist, a friend, a brother and a son.”\u003c/p>\n\u003cp>“Last week he buried his father and intensely struggled with this loss,” the family said. “The only comfort we have is knowing Angus is now reunited with his dad, who was his best friend. Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>“We hope the world remembers him for his humor, laughter and love for everyone,” his family added.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud hadn’t acted before he was cast in \u003cem>Euphoria\u003c/em>. He was walking down the street in New York when casting director Jennifer Venditti noticed him. Series creator Sam Levinson made him the co-star of the series alongside Zendaya for its first two seasons.\u003c/p>\n\u003cp>The part made Cloud the breakout star of one the buzziest shows in television. He was recently cast to co-star in \u003cem>Scream 6\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/euphoriaHBO/status/1686137982003126273?s=20\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Angus Cloud, the actor who starred as the drug dealer Fezco “Fez” O’Neill on the HBO series \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em>\u003c/a>, has died. He was 25.\u003c/p>\n\u003cp>Cloud’s publicist, Cait Bailey, said Cloud died Monday at his family home in Oakland, California. No cause of death was given.\u003c/p>\n\u003cp>In a statement, Cloud’s family said goodbye to “an artist, a friend, a brother and a son.”\u003c/p>\n\u003cp>“Last week he buried his father and intensely struggled with this loss,” the family said. “The only comfort we have is knowing Angus is now reunited with his dad, who was his best friend. Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>“We hope the world remembers him for his humor, laughter and love for everyone,” his family added.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud hadn’t acted before he was cast in \u003cem>Euphoria\u003c/em>. He was walking down the street in New York when casting director Jennifer Venditti noticed him. Series creator Sam Levinson made him the co-star of the series alongside Zendaya for its first two seasons.\u003c/p>\n\u003cp>The part made Cloud the breakout star of one the buzziest shows in television. He was recently cast to co-star in \u003cem>Scream 6\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "San Francisco Loved Tony Bennett Right Back",
"headTitle": "San Francisco Loved Tony Bennett Right Back | KQED",
"content": "\u003cfigure id=\"attachment_13931947\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931947\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg\" alt=\"\" width=\"1480\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-768x505.jpg 768w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs at the Hyatt Regency in San Francisco in February, 2000. \u003ccite>(Lea Suzuki / San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]T[/dropcap]he first time I ever saw Tony Bennett was in 1995, for a free noontime show in Union Square. In San Francisco. Naturally.\u003c/p>\n\u003cp>After proclamations by various city figures — I distinctly remember Angela Alioto got booed — Bennett took the stage with his trio of piano, bass and drums, and went right into what he did so well, over and over. What he was unquestionably born to do, really, until his \u003ca href=\"https://www.kqed.org/arts/13931917/tony-bennett-dies-at-96\">death this week at age 96\u003c/a>.\u003c/p>\n\u003cp>My friend Kim and I stood in the large crowd with a sense of awe. There we were, seeing a legend, Tony Bennett, for free, singing timeless numbers like “Fascinatin’ Rhythm” and “Fly Me to the Moon” with elegant grace. All around the square, the city seemed to grind to a halt. Cabbies on Geary Street leaned their heads out to listen. Hotel guests in the upper floors of the St. Francis watched out of their windows.\u003c/p>\n\u003cp>And then, in the heart of the city with which he’d be forever associated, Tony Bennett started singing “I Left My Heart in San Francisco.” The crowd collectively sighed — a good sigh — as Bennett settled into the familiar verse about going home to his city by the Bay.\u003c/p>\n\u003cp>Right then and there, in the middle of Tony Bennett singing “I Left My Heart in San Francisco,” a cable car rattled up Powell Street behind the stage, piercing the hushed city quiet. In a moment I’ll never forget, right on time with the song, it rang its bell.\u003c/p>\n\u003cfigure id=\"attachment_13931943\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1536x1178.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-2048x1571.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1920x1473.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor Dianne Feinstein rides a cable car with Tony Bennett. June 22, 1984. \u003ccite>(Frederic Larson/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was no singer in the world like Tony Bennett. Or, I should say, there were many singers \u003cem>like\u003c/em> Bennett, tons of Steve Lawrences and Vic Damones and Al Martinos. But none on his level of seemingly effortless technique, nor his gift of interpretation. As Frank Sinatra once said, in his famous quote to \u003cem>Life\u003c/em> magazine about Bennett being “the best singer in the business”: “He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How Bennett came to record the defining song about San Francisco is a story \u003ca href=\"https://web.archive.org/web/20160807090410/http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656&showFullText=true\">full of improbable twists and turns\u003c/a>, ending with the city adopting it as \u003ca href=\"https://sfmuseum.org/hist1/song.html\">one of two official songs\u003c/a>, artist-painted \u003ca href=\"https://sfghf.org/hearts-in-san-francisco/\">hearts all over the city\u003c/a>, a \u003ca href=\"https://www.billboard.com/music/music-news/tony-bennett-honored-with-statue-for-90th-birthday-in-san-francisco-7480167/\">statue in front of the Fairmont Hotel\u003c/a>, and the ceremonial \u003ca href=\"https://www.youtube.com/watch?v=YC-vb76c30g\">playing of the song at the ballpark after Giants games\u003c/a>. (Or, occasionally, Bennett \u003ca href=\"https://www.youtube.com/watch?v=fB5WJsaOM7Q\">waltzing onto the field and singing it live\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13931964\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1728\" class=\"size-full wp-image-13931964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-2048x1382.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1920x1296.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Former San Francisco Giants Willie Mays (L) stands with singer Tony Bennett (R) as the San Francisco Giants honor Bennett for his 90th birthday prior to the start of the game against the New York Mets at AT&T Park on August 19, 2016 in San Francisco. \u003ccite>(Thearon W. Henderson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Written by George Cory and Douglass Cross, a gay couple then living in Lake County, “I Left My Heart in San Francisco” was recorded almost on a fluke. In 1959, Cory and Cross had run into Bennett’s pianist Ralph Sharon on the street in New York and handed him the sheet music. Two whole years later, before going on the road out West, Sharon tossed it into his suitcase on a whim.\u003c/p>\n\u003cp>After trying the song out in after-hours sessions, Bennett premiered it at the Venetian Room of the Fairmont Hotel in 1961; the applause was so great he was forced to turn right around and sing it again.\u003c/p>\n\u003cp>Not everyone liked “I Left My Heart in San Francisco.” Herb Caen once called it “a travel poster, and just as two-dimensional.” Bob Grimes, a San Francisco store proprietor who built one of the largest private collections of sheet music in the country, said to the \u003cem>San Francisco Chronicle\u003c/em> that it was “saccharine, soporific and focuses on people who are out of the city rather than its residents.”\u003c/p>\n\u003cp>Plus, Bennett had \u003cem>so many other songs\u003c/em>. Hundreds. “Just In Time.” “Boulevard of Broken Dreams.” “The Good Life.” “Because of You.” “For Once in My Life.” The list goes \u003ca href=\"https://twitter.com/gmeline/status/1072910960245977089\">on and on\u003c/a>. All indelible reminders that love and sincerity are more valuable than jadedness and irony. All sung in thousands of concerts all over the globe, and punctuated on the final downbeat by Bennett’s signature pose: outstretching his arms to the audience and smiling wide.\u003c/p>\n\u003cfigure id=\"attachment_13931932\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1920x1278.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs on stage during a concert in Everett, Massachusetts in 2019. \u003ccite>(JOSEPH PREZIOSO/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was lucky to have seen Bennett six or seven times over the years. One time I paid $125 for a ticket; another time, I snuck in for free. Yet another time I hung around the backstage door afterward to watch him emerge, flanked by two large Italian bodyguards, and got to shake his hand.\u003c/p>\n\u003cp>The last time he came around was in 2018, two years into his Alzheimer’s diagnosis. I had made an unusual habit of bringing tattooed friends from the punk scene to see Tony Bennett with me, but this time was special: I went with my 9-year-old daughter.\u003c/p>\n\u003cp>At an incredible 92 years old, he sang 24 songs. And then, at the end of the night, came another Tony Bennett moment I’ll never forget: he set the microphone down, walked to the front of the stage, and, unamplified, sang “Fly Me to the Moon” to the rafters.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sP9skLqKQ2c\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>It brought the house down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s true that Tony Bennett genuinely loved San Francisco. But San Francisco loved him right back, tenfold. Wherever he is now, he’s left much more than his heart here. Indeed, a giant piece of him is woven into this city — and me — forever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13931947\" class=\"wp-caption aligncenter\" style=\"max-width: 1480px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931947\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg\" alt=\"\" width=\"1480\" height=\"973\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_.jpg 1480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.MAIN_-768x505.jpg 768w\" sizes=\"(max-width: 1480px) 100vw, 1480px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs at the Hyatt Regency in San Francisco in February, 2000. \u003ccite>(Lea Suzuki / San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he first time I ever saw Tony Bennett was in 1995, for a free noontime show in Union Square. In San Francisco. Naturally.\u003c/p>\n\u003cp>After proclamations by various city figures — I distinctly remember Angela Alioto got booed — Bennett took the stage with his trio of piano, bass and drums, and went right into what he did so well, over and over. What he was unquestionably born to do, really, until his \u003ca href=\"https://www.kqed.org/arts/13931917/tony-bennett-dies-at-96\">death this week at age 96\u003c/a>.\u003c/p>\n\u003cp>My friend Kim and I stood in the large crowd with a sense of awe. There we were, seeing a legend, Tony Bennett, for free, singing timeless numbers like “Fascinatin’ Rhythm” and “Fly Me to the Moon” with elegant grace. All around the square, the city seemed to grind to a halt. Cabbies on Geary Street leaned their heads out to listen. Hotel guests in the upper floors of the St. Francis watched out of their windows.\u003c/p>\n\u003cp>And then, in the heart of the city with which he’d be forever associated, Tony Bennett started singing “I Left My Heart in San Francisco.” The crowd collectively sighed — a good sigh — as Bennett settled into the familiar verse about going home to his city by the Bay.\u003c/p>\n\u003cp>Right then and there, in the middle of Tony Bennett singing “I Left My Heart in San Francisco,” a cable car rattled up Powell Street behind the stage, piercing the hushed city quiet. In a moment I’ll never forget, right on time with the song, it rang its bell.\u003c/p>\n\u003cfigure id=\"attachment_13931943\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931943\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-800x614.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1020x782.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-768x589.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1536x1178.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-2048x1571.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1298825223-1920x1473.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mayor Dianne Feinstein rides a cable car with Tony Bennett. June 22, 1984. \u003ccite>(Frederic Larson/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There was no singer in the world like Tony Bennett. Or, I should say, there were many singers \u003cem>like\u003c/em> Bennett, tons of Steve Lawrences and Vic Damones and Al Martinos. But none on his level of seemingly effortless technique, nor his gift of interpretation. As Frank Sinatra once said, in his famous quote to \u003cem>Life\u003c/em> magazine about Bennett being “the best singer in the business”: “He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How Bennett came to record the defining song about San Francisco is a story \u003ca href=\"https://web.archive.org/web/20160807090410/http://www.sfweekly.com/sanfrancisco/where-the-heart-is-the-story-behind-san-franciscos-official-ballad-tony-bennett-george-cory-the-fairmont-hotel-i-left-my-heart-in-san-fra/Content?oid=4814656&showFullText=true\">full of improbable twists and turns\u003c/a>, ending with the city adopting it as \u003ca href=\"https://sfmuseum.org/hist1/song.html\">one of two official songs\u003c/a>, artist-painted \u003ca href=\"https://sfghf.org/hearts-in-san-francisco/\">hearts all over the city\u003c/a>, a \u003ca href=\"https://www.billboard.com/music/music-news/tony-bennett-honored-with-statue-for-90th-birthday-in-san-francisco-7480167/\">statue in front of the Fairmont Hotel\u003c/a>, and the ceremonial \u003ca href=\"https://www.youtube.com/watch?v=YC-vb76c30g\">playing of the song at the ballpark after Giants games\u003c/a>. (Or, occasionally, Bennett \u003ca href=\"https://www.youtube.com/watch?v=fB5WJsaOM7Q\">waltzing onto the field and singing it live\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13931964\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1728\" class=\"size-full wp-image-13931964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-2048x1382.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-595239568-1920x1296.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Former San Francisco Giants Willie Mays (L) stands with singer Tony Bennett (R) as the San Francisco Giants honor Bennett for his 90th birthday prior to the start of the game against the New York Mets at AT&T Park on August 19, 2016 in San Francisco. \u003ccite>(Thearon W. Henderson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Written by George Cory and Douglass Cross, a gay couple then living in Lake County, “I Left My Heart in San Francisco” was recorded almost on a fluke. In 1959, Cory and Cross had run into Bennett’s pianist Ralph Sharon on the street in New York and handed him the sheet music. Two whole years later, before going on the road out West, Sharon tossed it into his suitcase on a whim.\u003c/p>\n\u003cp>After trying the song out in after-hours sessions, Bennett premiered it at the Venetian Room of the Fairmont Hotel in 1961; the applause was so great he was forced to turn right around and sing it again.\u003c/p>\n\u003cp>Not everyone liked “I Left My Heart in San Francisco.” Herb Caen once called it “a travel poster, and just as two-dimensional.” Bob Grimes, a San Francisco store proprietor who built one of the largest private collections of sheet music in the country, said to the \u003cem>San Francisco Chronicle\u003c/em> that it was “saccharine, soporific and focuses on people who are out of the city rather than its residents.”\u003c/p>\n\u003cp>Plus, Bennett had \u003cem>so many other songs\u003c/em>. Hundreds. “Just In Time.” “Boulevard of Broken Dreams.” “The Good Life.” “Because of You.” “For Once in My Life.” The list goes \u003ca href=\"https://twitter.com/gmeline/status/1072910960245977089\">on and on\u003c/a>. All indelible reminders that love and sincerity are more valuable than jadedness and irony. All sung in thousands of concerts all over the globe, and punctuated on the final downbeat by Bennett’s signature pose: outstretching his arms to the audience and smiling wide.\u003c/p>\n\u003cfigure id=\"attachment_13931932\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/GettyImages-1160447812-1920x1278.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performs on stage during a concert in Everett, Massachusetts in 2019. \u003ccite>(JOSEPH PREZIOSO/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was lucky to have seen Bennett six or seven times over the years. One time I paid $125 for a ticket; another time, I snuck in for free. Yet another time I hung around the backstage door afterward to watch him emerge, flanked by two large Italian bodyguards, and got to shake his hand.\u003c/p>\n\u003cp>The last time he came around was in 2018, two years into his Alzheimer’s diagnosis. I had made an unusual habit of bringing tattooed friends from the punk scene to see Tony Bennett with me, but this time was special: I went with my 9-year-old daughter.\u003c/p>\n\u003cp>At an incredible 92 years old, he sang 24 songs. And then, at the end of the night, came another Tony Bennett moment I’ll never forget: he set the microphone down, walked to the front of the stage, and, unamplified, sang “Fly Me to the Moon” to the rafters.\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/sP9skLqKQ2c'\n title='//www.youtube.com/embed/sP9skLqKQ2c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>It brought the house down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s true that Tony Bennett genuinely loved San Francisco. But San Francisco loved him right back, tenfold. Wherever he is now, he’s left much more than his heart here. Indeed, a giant piece of him is woven into this city — and me — forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"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"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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