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"title": "Remembering Chris Strachwitz's Many Gifts to the World",
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"content": "\u003cfigure id=\"attachment_13928741\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Chris.Strachwitz.full_.jpg\" alt=\"\" width=\"1024\" height=\"762\" class=\"size-full wp-image-13928741\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-1020x759.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Chris.Strachwitz.full_-768x572.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Chris Strachwitz at his Down Home Records store in El Cerrito, Calif. in 2014. The founder of the popular local music store and Arhoolie Records died Friday at age 91. \u003ccite>(Paul Chinn/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first time that Chris Strachwitz blew my mind open was in the mid-1990s.\u003c/p>\n\u003cp>It was my first pilgrimage to \u003ca href=\"https://www.downhomemusic.com/\">Down Home Music\u003c/a>, the El Cerrito record store that serves as home base for Arhoolie Records, the label that Strachwitz founded in 1960. Intrigued by the cover art of \u003cem>\u003ca href=\"https://folkways.si.edu/pachuco-boogie/jazz-ragtime/music/album/smithsonian\">Pachuco Boogie\u003c/a>\u003c/em>, I added the CD to my stack, allowing me to discover a liminal moment when Mexican-American musicians started absorbing the jump blues and early R&B of their Black neighbors in 1940s Los Angeles. The irresistible sound sparked an epiphany about the buried cultural geography of my hometown, which had recently been torn apart by the LA riots.\u003c/p>\n\u003cp>[aside postID='arts_13928746']Strachwitz, who \u003ca href=\"https://www.kqed.org/arts/13928746/chris-strachwitz-legendary-roots-music-preservationist-dies-at-91\">died at his apartment in Marin on May 5 at the age of 91\u003c/a>, appreciated that story. A tireless ethnomusicologist, he seemed to experience life as an ongoing series of musical revelations, and he liked nothing better than sharing those transformative sounds. Running into Strachwitz, a longtime Berkeley resident, at a show or on BART was always a treat, as he was garrulous, opinionated and usually bubbling over with enthusiasm about something he’d recently heard.\u003c/p>\n\u003cp>Strachwitz spent his life documenting, preserving, producing and releasing a far-flung roster of roots music traditions, including country blues, gospel, bluegrass, jazz, zydeco, Cajun and Tex-Mex music. His massive catalog of Arhoolie albums and compilation projects introduced several generations of listeners to sounds assiduously avoided by mainstream outlets.\u003c/p>\n\u003cfigure id=\"attachment_13928753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/mousemusic800.jpg\" alt=\"\" width=\"800\" height=\"509\" class=\"size-full wp-image-13928753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/mousemusic800-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Strachwitz with Texas blues musician Mance Lipscomb in an undated photo. \u003ccite>(Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I didn’t care for the slick R&B,” he told me in \u003ca href=\"https://eastbayexpress.com/at-50-arhoolie-records-looks-back-and-goes-forward-1/\">an interview for Arhoolie’s 50th anniversary\u003c/a>. “I liked the raggedy stuff, the stuff where the musicians are obviously expressing themselves. I like honking bands, the beat, the powerful rhythm, and I don’t care if it’s hillbilly or gospel.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arhoolie wasn’t a commercial powerhouse, but the sounds that Strachwitz captured or uncovered influenced countless musicians, including Bonnie Raitt, Bob Dylan, Taj Mahal, Ry Cooder and the Rolling Stones (whom Strachwitz successfully pursued for royalties due to ailing bluesman Fred McDowell for “You Gotta Move,” a track on 1971’s \u003cem>Sticky Fingers\u003c/em>).\u003c/p>\n\u003cp>The influence of his work soaked into the roots of the communities he treasured, according to Maureen Gosling, who with Chris Simon directed and produced the feature documentary \u003cem>This Ain’t\u003c/em> \u003cem>No Mouse Music! The Story of Chris Strachwitz and Arhoolie Records\u003c/em>.\u003cbr>\nhttps://www.youtube.com/watch?v=eYyNAgs4T5o\u003c/p>\n\u003cp>Speaking from New Orleans, where a \u003ca href=\"https://www.wwoz.org/blog/901596\">program celebrating the legacy of Arhoolie\u003c/a> concluded just hours before his death, Gosling had been to a screening with Simon of Les Blank’s Cajun and zydeco music documentary \u003cem>\u003ca href=\"https://lesblank.com/films/jai-ete-au-bal-i-went-to-the-dance-1989-2/\">J’ai Été Au Bal / I Went to the Dance\u003c/a>\u003c/em>. Cajun folklorist Barry Ancelet said, “‘We knew about these recordings, but to see these compilations of Cajun music combined in a historical context was mind-blowing,’” Gosling said. “Michael Doucet listened to them and got excited about playing Cajun music.”\u003c/p>\n\u003cp>Gosling and Simon got to know Strachwitz when they were part of Blank’s Flower Film team, which ended up being based upstairs from Down Home Music when Blank was working on the classic 1976 documentary about Norteño music, \u003cem>\u003ca href=\"https://lesblank.com/films/chulas-fronteras-1976-2/\">Chulas Fronteras\u003c/a>\u003c/em>. Strachwitz and Blank had met each other in the 1960s at the Ash Grove folk club in Los Angeles, and Strachwitz ended up serving as an advisor, guide and resource for many of Blank’s films.\u003c/p>\n\u003cfigure id=\"attachment_13928752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13928752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arhoolie Records founder Chris Strachwitz. \u003ccite>(Alain McLaughlin/Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has that energy and excitement,” Simon said. “They balanced each other out. Les was reserved and wanted to observe. Chris was all excited about everything. He was more interested in the music. Les wanted to get at the person and culture, the surroundings bringing that music forth.”\u003c/p>\n\u003cp>The sheer scope of Strachwitz’s work was almost unimaginable. While Arhoolie released some 400 albums, that barely accounts for the music that Strachwitz compiled. At a time when Mexican music was largely invisible to non-Latino audiences, he started acquiring records that documented a constellation of styles, with a particular focus on accordion-driven norteño music.\u003cbr>\nhttps://www.youtube.com/watch?v=wlhDaing95Q\u003c/p>\n\u003cp>Strachwitz ended up compiling the Frontera Collection, the world’s largest private archive of Mexican and Mexican-American music. A grant from the San Jose norteño band Los Tigres del Norte’s foundation launched the digitizing process (via UCLA’s Chicano Studies Research Center), and two decades later, in 2022, the process was completed, encompassing 162,860 tracks.\u003c/p>\n\u003cp>Blues and Mexican music was part of Strachwitz’s introduction to the United States. Born into an aristocratic Prussian family, he was a teenager when his family resettled in Santa Barbara after being displaced at the end of World War II (his hometown, Gross Reichenau, is now the Polish city Bogaczów). It wasn’t long before American roots music became an abiding obsession.\u003c/p>\n\u003cp>[aside postID='forum_2010101854728']“I first heard it around 1948 on a radio station from Santa Paula that had some Mexican music, mostly mariachi, but some accordion too,” he told me in 2011. “I loved the sound of it. I thought it was just like hillbilly music, but in a different language.”\u003c/p>\n\u003cp>He followed that passion across the South to record Delta blue musicians, and into the Southwest to capture the sounds of the border.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He was out there when no one else was,” Gosling said. “Alan Lomax was recording for archives, all those folk ballads. But Chris wanted to capture music that people \u003cem>danced\u003c/em> to.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arhoolie wasn’t a commercial powerhouse, but the sounds that Strachwitz captured or uncovered influenced countless musicians, including Bonnie Raitt, Bob Dylan, Taj Mahal, Ry Cooder and the Rolling Stones (whom Strachwitz successfully pursued for royalties due to ailing bluesman Fred McDowell for “You Gotta Move,” a track on 1971’s \u003cem>Sticky Fingers\u003c/em>).\u003c/p>\n\u003cp>The influence of his work soaked into the roots of the communities he treasured, according to Maureen Gosling, who with Chris Simon directed and produced the feature documentary \u003cem>This Ain’t\u003c/em> \u003cem>No Mouse Music! The Story of Chris Strachwitz and Arhoolie Records\u003c/em>.\u003cbr>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eYyNAgs4T5o'\n title='//www.youtube.com/embed/eYyNAgs4T5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Speaking from New Orleans, where a \u003ca href=\"https://www.wwoz.org/blog/901596\">program celebrating the legacy of Arhoolie\u003c/a> concluded just hours before his death, Gosling had been to a screening with Simon of Les Blank’s Cajun and zydeco music documentary \u003cem>\u003ca href=\"https://lesblank.com/films/jai-ete-au-bal-i-went-to-the-dance-1989-2/\">J’ai Été Au Bal / I Went to the Dance\u003c/a>\u003c/em>. Cajun folklorist Barry Ancelet said, “‘We knew about these recordings, but to see these compilations of Cajun music combined in a historical context was mind-blowing,’” Gosling said. “Michael Doucet listened to them and got excited about playing Cajun music.”\u003c/p>\n\u003cp>Gosling and Simon got to know Strachwitz when they were part of Blank’s Flower Film team, which ended up being based upstairs from Down Home Music when Blank was working on the classic 1976 documentary about Norteño music, \u003cem>\u003ca href=\"https://lesblank.com/films/chulas-fronteras-1976-2/\">Chulas Fronteras\u003c/a>\u003c/em>. Strachwitz and Blank had met each other in the 1960s at the Ash Grove folk club in Los Angeles, and Strachwitz ended up serving as an advisor, guide and resource for many of Blank’s films.\u003c/p>\n\u003cfigure id=\"attachment_13928752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13928752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Arhoolie-Records-Founder-Chris-Strachwitz-photo-by-Alain-McLaughlin-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arhoolie Records founder Chris Strachwitz. \u003ccite>(Alain McLaughlin/Arhoolie Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He has that energy and excitement,” Simon said. “They balanced each other out. Les was reserved and wanted to observe. Chris was all excited about everything. He was more interested in the music. Les wanted to get at the person and culture, the surroundings bringing that music forth.”\u003c/p>\n\u003cp>The sheer scope of Strachwitz’s work was almost unimaginable. While Arhoolie released some 400 albums, that barely accounts for the music that Strachwitz compiled. At a time when Mexican music was largely invisible to non-Latino audiences, he started acquiring records that documented a constellation of styles, with a particular focus on accordion-driven norteño music.\u003cbr>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wlhDaing95Q'\n title='//www.youtube.com/embed/wlhDaing95Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Strachwitz ended up compiling the Frontera Collection, the world’s largest private archive of Mexican and Mexican-American music. A grant from the San Jose norteño band Los Tigres del Norte’s foundation launched the digitizing process (via UCLA’s Chicano Studies Research Center), and two decades later, in 2022, the process was completed, encompassing 162,860 tracks.\u003c/p>\n\u003cp>Blues and Mexican music was part of Strachwitz’s introduction to the United States. Born into an aristocratic Prussian family, he was a teenager when his family resettled in Santa Barbara after being displaced at the end of World War II (his hometown, Gross Reichenau, is now the Polish city Bogaczów). It wasn’t long before American roots music became an abiding obsession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I first heard it around 1948 on a radio station from Santa Paula that had some Mexican music, mostly mariachi, but some accordion too,” he told me in 2011. “I loved the sound of it. I thought it was just like hillbilly music, but in a different language.”\u003c/p>\n\u003cp>He followed that passion across the South to record Delta blue musicians, and into the Southwest to capture the sounds of the border.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He was out there when no one else was,” Gosling said. “Alan Lomax was recording for archives, all those folk ballads. But Chris wanted to capture music that people \u003cem>danced\u003c/em> to.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jerry Springer, the onetime mayor and news anchor whose namesake TV show featured a three-ring circus of dysfunctional families willing to bare all on weekday afternoons including brawls, obscenities and blurred images of nudity, died Thursday at 79.\u003c/p>\n\u003cp>At its peak, “The Jerry Springer Show” was a ratings powerhouse and a U.S. cultural pariah, synonymous with lurid drama. Known for chair-throwing and bleep-filled arguments, the daytime talk show was a favorite American guilty pleasure over its 27-year run, at one point topping Oprah Winfrey’s show.\u003c/p>\n\u003cp>Springer called it “escapist entertainment,” while others saw the show as contributing to a dumbing-down decline in American social values.\u003c/p>\n\u003cp>“Jerry’s ability to connect with people was at the heart of his success in everything he tried whether that was politics, broadcasting or just joking with people on the street who wanted a photo or a word,” said Jene Galvin, a family spokesperson and friend of Springer’s since 1970, in a statement. “He’s irreplaceable and his loss hurts immensely, but memories of his intellect, heart and humor will live on.”\u003c/p>\n\u003cp>Springer died peacefully at home in suburban Chicago after a brief illness, the statement said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On his Twitter profile, Springer jokingly declared himself as “Talk show host, ringmaster of civilization’s end.” He also often had told people, tongue in cheek, that his wish for them was “may you never be on my show.”\u003c/p>\n\u003cp>After more than 4,000 episodes, the show ended in 2018, never straying from its core salaciousness: Some of its last episodes had such titles as “Stripper Sex Turned Me Straight,” “Stop Pimpin’ My Twin Sister,” and “Hooking Up With My Therapist.”\u003c/p>\n\u003cp>In a “Too Hot For TV” video released as his daily show neared 7 million viewers in the late 1990s, Springer offered a defense against disgust.\u003c/p>\n\u003cp>“Look, television does not and must not create values, it’s merely a picture of all that’s out there — the good, the bad, the ugly,” Springer said, adding: “Believe this: The politicians and companies that seek to control what each of us may watch are a far greater danger to America and our treasured freedom than any of our guests ever were or could be.”\u003c/p>\n\u003cp>He also contended that the people on his show volunteered to be subjected to whatever ridicule or humiliation awaited them.\u003c/p>\n\u003cfigure id=\"attachment_13928367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/ezgif-4-279a866730-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" class=\"size-medium wp-image-13928367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Democratic gubernatorial candidate Jerry Springer greets supporters at a rally on Fountain Square in Cincinnati, Ohio on June 3, 1982. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gerald Norman Springer was born Feb. 13, 1944, in a London underground railway station being used as a bomb shelter. His parents, Richard and Margot, were German Jews who fled to England during the Holocaust, in which other relatives were killed in Nazi gas chambers. They arrived in the United States when their son was 5 and settled in the Queens borough of New York City, where Springer got his first Yankees baseball gear on his way to becoming a lifelong fan.\u003c/p>\n\u003cp>He studied political science at Tulane University and got a law degree from Northwestern University. He was active in politics much of his adult life, mulling a run for governor of Ohio as recently as 2017.\u003c/p>\n\u003cp>He entered the arena as an aide in Robert F. Kennedy’s ill-fated 1968 presidential campaign. Springer, working for a Cincinnati law firm, ran unsuccessfully for Congress in 1970 before being elected to city council in 1971.\u003c/p>\n\u003cp>In 1974 — in what The Cincinnati Enquirer reported as “an abrupt move that shook Cincinnati’s political community” — Springer resigned. He cited “very personal family considerations,” but what he didn’t mention was a vice probe involving prostitution. In a subsequent admission that could have been the basis for one of his future shows, Springer said he had paid prostitutes with personal checks.\u003c/p>\n\u003cp>Then 30, he had married Micki Velton the previous year. The couple had a daughter, Katie, and divorced in 1994.\u003c/p>\n\u003cp>Springer quickly bounced back politically, winning a council seat in 1975 and serving as mayor in 1977. He later became a local television politics reporter with popular evening commentaries. He and co-anchor Norma Rashid eventually helped build NBC affiliate WLWT-TV’s broadcast into the Cincinnati market’s top-rated news show.\u003c/p>\n\u003cp>Springer began his talk show in 1991 with more of a traditional format, but after he left WLWT in 1993, it got a sleazy makeover.\u003c/p>\n\u003cp>TV Guide ranked it No. 1 on a list of “Worst Shows in the History of Television,” but it was ratings gold. It made Springer a celebrity who would go on to host a liberal radio talk show and “America’s Got Talent,” star in a movie called “Ringmaster,” and compete on “Dancing With the Stars.”\u003c/p>\n\u003cfigure id=\"attachment_13928366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" class=\"size-medium wp-image-13928366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talk-show host Jerry Springer rehearses dance steps with partner Kym Johnson at a dance studio in Chicago on Aug. 25, 2006, as he prepares for his appearance on the celebrity competition show ‘Dancing with the Stars.’ \u003ccite>(Charles Rex Arbogast/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With all the joking I do with the show, I’m fully aware and thank God every day that my life has taken this incredible turn because of this silly show,” Springer told Cincinnati Enquirer media reporter John Kiesewetter in 2011.\u003c/p>\n\u003cp>Well in advance of Donald Trump’s political rise from reality TV stardom, Springer mulled a Senate run in 2003 that he surmised could draw on “nontraditional voters,” people “who believe most politics are bull.”\u003c/p>\n\u003cp>“I connect with a whole bunch of people who probably connect more to me right now than to a traditional politician,” Springer told the AP at the time. He opposed the war on Iraq and favored expanding public healthcare, but ultimately did not run.\u003c/p>\n\u003cp>Springer also spoke often of the country he came to age 5 as “a beacon of light for the rest of world.”\u003c/p>\n\u003cp>“I have no other motivation but to say I love this country,” Springer said to a Democratic gathering in 2003.\u003c/p>\n\u003cp>Springer hosted a nationally syndicated “Judge Jerry” show in 2019 and continued to speak out on whatever was on his mind in a podcast, but his power to shock had dimmed in the new era of reality television and combative cable TV talk shows.\u003c/p>\n\u003cp>“He was lapped not only by other programs but by real life,” David Bianculli, a television historian and professor at Monmouth University, said in 2018.\u003c/p>\n\u003cp>Despite the limits Springer’s show put on his political aspirations, he embraced its legacy. In a 2003 fund-raising infomercial ahead of a possible U.S. Senate run the following year, Springer referenced a quote by then National Review commentator Jonah Goldberg, who warned of new people brought to the polls by Springer, including “slack-jawed yokels, hicks, weirdos, pervs and whatnots.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the informercial, Springer referred to the quote and talked about wanting to reach out to “regular folks … who weren’t born with a silver spoon in your mouth.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Springer, the onetime mayor and news anchor whose namesake TV show featured a three-ring circus of dysfunctional families willing to bare all on weekday afternoons including brawls, obscenities and blurred images of nudity, died Thursday at 79.\u003c/p>\n\u003cp>At its peak, “The Jerry Springer Show” was a ratings powerhouse and a U.S. cultural pariah, synonymous with lurid drama. Known for chair-throwing and bleep-filled arguments, the daytime talk show was a favorite American guilty pleasure over its 27-year run, at one point topping Oprah Winfrey’s show.\u003c/p>\n\u003cp>Springer called it “escapist entertainment,” while others saw the show as contributing to a dumbing-down decline in American social values.\u003c/p>\n\u003cp>“Jerry’s ability to connect with people was at the heart of his success in everything he tried whether that was politics, broadcasting or just joking with people on the street who wanted a photo or a word,” said Jene Galvin, a family spokesperson and friend of Springer’s since 1970, in a statement. “He’s irreplaceable and his loss hurts immensely, but memories of his intellect, heart and humor will live on.”\u003c/p>\n\u003cp>Springer died peacefully at home in suburban Chicago after a brief illness, the statement said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On his Twitter profile, Springer jokingly declared himself as “Talk show host, ringmaster of civilization’s end.” He also often had told people, tongue in cheek, that his wish for them was “may you never be on my show.”\u003c/p>\n\u003cp>After more than 4,000 episodes, the show ended in 2018, never straying from its core salaciousness: Some of its last episodes had such titles as “Stripper Sex Turned Me Straight,” “Stop Pimpin’ My Twin Sister,” and “Hooking Up With My Therapist.”\u003c/p>\n\u003cp>In a “Too Hot For TV” video released as his daily show neared 7 million viewers in the late 1990s, Springer offered a defense against disgust.\u003c/p>\n\u003cp>“Look, television does not and must not create values, it’s merely a picture of all that’s out there — the good, the bad, the ugly,” Springer said, adding: “Believe this: The politicians and companies that seek to control what each of us may watch are a far greater danger to America and our treasured freedom than any of our guests ever were or could be.”\u003c/p>\n\u003cp>He also contended that the people on his show volunteered to be subjected to whatever ridicule or humiliation awaited them.\u003c/p>\n\u003cfigure id=\"attachment_13928367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/ezgif-4-279a866730-800x540.jpg\" alt=\"\" width=\"800\" height=\"540\" class=\"size-medium wp-image-13928367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-279a866730.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Democratic gubernatorial candidate Jerry Springer greets supporters at a rally on Fountain Square in Cincinnati, Ohio on June 3, 1982. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gerald Norman Springer was born Feb. 13, 1944, in a London underground railway station being used as a bomb shelter. His parents, Richard and Margot, were German Jews who fled to England during the Holocaust, in which other relatives were killed in Nazi gas chambers. They arrived in the United States when their son was 5 and settled in the Queens borough of New York City, where Springer got his first Yankees baseball gear on his way to becoming a lifelong fan.\u003c/p>\n\u003cp>He studied political science at Tulane University and got a law degree from Northwestern University. He was active in politics much of his adult life, mulling a run for governor of Ohio as recently as 2017.\u003c/p>\n\u003cp>He entered the arena as an aide in Robert F. Kennedy’s ill-fated 1968 presidential campaign. Springer, working for a Cincinnati law firm, ran unsuccessfully for Congress in 1970 before being elected to city council in 1971.\u003c/p>\n\u003cp>In 1974 — in what The Cincinnati Enquirer reported as “an abrupt move that shook Cincinnati’s political community” — Springer resigned. He cited “very personal family considerations,” but what he didn’t mention was a vice probe involving prostitution. In a subsequent admission that could have been the basis for one of his future shows, Springer said he had paid prostitutes with personal checks.\u003c/p>\n\u003cp>Then 30, he had married Micki Velton the previous year. The couple had a daughter, Katie, and divorced in 1994.\u003c/p>\n\u003cp>Springer quickly bounced back politically, winning a council seat in 1975 and serving as mayor in 1977. He later became a local television politics reporter with popular evening commentaries. He and co-anchor Norma Rashid eventually helped build NBC affiliate WLWT-TV’s broadcast into the Cincinnati market’s top-rated news show.\u003c/p>\n\u003cp>Springer began his talk show in 1991 with more of a traditional format, but after he left WLWT in 1993, it got a sleazy makeover.\u003c/p>\n\u003cp>TV Guide ranked it No. 1 on a list of “Worst Shows in the History of Television,” but it was ratings gold. It made Springer a celebrity who would go on to host a liberal radio talk show and “America’s Got Talent,” star in a movie called “Ringmaster,” and compete on “Dancing With the Stars.”\u003c/p>\n\u003cfigure id=\"attachment_13928366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" class=\"size-medium wp-image-13928366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/ezgif-4-b5eb5fd9cf.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talk-show host Jerry Springer rehearses dance steps with partner Kym Johnson at a dance studio in Chicago on Aug. 25, 2006, as he prepares for his appearance on the celebrity competition show ‘Dancing with the Stars.’ \u003ccite>(Charles Rex Arbogast/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“With all the joking I do with the show, I’m fully aware and thank God every day that my life has taken this incredible turn because of this silly show,” Springer told Cincinnati Enquirer media reporter John Kiesewetter in 2011.\u003c/p>\n\u003cp>Well in advance of Donald Trump’s political rise from reality TV stardom, Springer mulled a Senate run in 2003 that he surmised could draw on “nontraditional voters,” people “who believe most politics are bull.”\u003c/p>\n\u003cp>“I connect with a whole bunch of people who probably connect more to me right now than to a traditional politician,” Springer told the AP at the time. He opposed the war on Iraq and favored expanding public healthcare, but ultimately did not run.\u003c/p>\n\u003cp>Springer also spoke often of the country he came to age 5 as “a beacon of light for the rest of world.”\u003c/p>\n\u003cp>“I have no other motivation but to say I love this country,” Springer said to a Democratic gathering in 2003.\u003c/p>\n\u003cp>Springer hosted a nationally syndicated “Judge Jerry” show in 2019 and continued to speak out on whatever was on his mind in a podcast, but his power to shock had dimmed in the new era of reality television and combative cable TV talk shows.\u003c/p>\n\u003cp>“He was lapped not only by other programs but by real life,” David Bianculli, a television historian and professor at Monmouth University, said in 2018.\u003c/p>\n\u003cp>Despite the limits Springer’s show put on his political aspirations, he embraced its legacy. In a 2003 fund-raising infomercial ahead of a possible U.S. Senate run the following year, Springer referenced a quote by then National Review commentator Jonah Goldberg, who warned of new people brought to the polls by Springer, including “slack-jawed yokels, hicks, weirdos, pervs and whatnots.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Three Harry Belafonte Performances You Won't Want to Miss",
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"content": "\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>[aside postid='arts_13928229']But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=vSzDfNn3kYc\u003c/p>\n\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r-24cY5PjSI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=1Aoukxd0GvI&t=1s\u003c/p>\n\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, the towering pioneer \u003ca href=\"https://www.kqed.org/arts/13928229/harry-belafonte-dies\">Harry Belafonte\u003c/a> passed away at 96. For many, Belafonte’s image as a humanitarian looms large. Notably, he was a close friend and collaborator with Martin Luther King Jr., protested against South African apartheid, and was an outspoken critic of American leadership, including George W. Bush’s decision to invade Iraq.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he also rose to fame as a popular recording artist and star of stage and screen, in a career that spanned multiple decades. During the 1950s, he was the rare Black actor to achieve leading man status in Hollywood (see: \u003ca href=\"https://www.tcm.com/tcmdb/title/70323/carmen-jones/#overview\">\u003cem>Carmen Jones\u003c/em>\u003c/a>; \u003ca href=\"https://www.youtube.com/watch?v=bOUBLJaVKNI\">\u003cem>The World, the Flesh and the Devil\u003c/em>\u003c/a>) and his album \u003cem>Calypso\u003c/em>, featuring his signature hit “\u003ca href=\"https://www.npr.org/2011/10/12/141243628/harry-belafonte-out-of-struggle-a-beautiful-voice\">Banana Boat Song\u003c/a>,” was a best-seller. He was an EGOT winner (including a non-competitive Jean Hersholt Humanitarian Oscar) and a driving force behind the creation of the 1985 all-star charity single, “\u003ca href=\"https://www.youtube.com/watch?v=s3wNuru4U0I\">We Are the World\u003c/a>.” He even created one of the most \u003ca href=\"https://www.youtube.com/watch?v=tPaKWihFs_Q\">memorable moments in Muppet history\u003c/a>.\u003c/p>\n\u003cp>Quite frankly: Belafonte’s influence touched so many corners of popular culture and political progress, and his death marks a huge loss for the arts and activist communities. The recommendations below represent a mere fraction of his immense wealth of creative contributions — but they’re among his very best.\u003c/p>\n\u003ch3>\u003cem>Odds Against Tomorrow \u003c/em>(1959)\u003c/h3>\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/vSzDfNn3kYc'\n title='//www.youtube.com/embed/vSzDfNn3kYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In one of the last great film noirs of the classic era, Belafonte stars as Johnny Ingram, a gambling addict and nightclub singer in deep debt to a mobster. Desperate to wipe the slate clean (and protect his ex-wife and their daughter), Johnny teams up with a crooked ex-cop, played by Ed Begley Sr. and a racist ex-con, played by Robert Ryan. The cast is stacked and director Robert Wise is working at the top of his game, but Belafonte stands out in part because he’s playing a complex character in an era where even his peer and close friend Sidney Poitier was often stuck in one-dimensional roles. Johnny is a tense and edgy performance, simmering with resentment and urgency from a hard life.\u003c/p>\n\u003ch3>\u003cem>Buck and the Preacher \u003c/em>(1972)\u003c/h3>\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/r-24cY5PjSI'\n title='//www.youtube.com/embed/r-24cY5PjSI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not to downplay his many accomplishments, but it’s worth noting Belafonte was also very beautiful. Those matinee idol looks helped propel him to stardom, but in the revisionist western \u003cem>Buck and the Preacher —\u003c/em> Sidney Poitier’s directorial debut — he gets to let loose by playing against type as a shady vagabond named Preacher, who dons matted hair and yellowed teeth. Set shortly after the end of the Civil War, Preacher teams up with Poitier’s solemn and stately Buck to help protect formerly enslaved Black people from white mercenaries who want to force them back to work on plantations. Preacher’s a huckster brimming with bombast, and Belafonte chews up the scenery in this great performance.\u003c/p>\n\u003ch3>\u003cem>BlacKKKlansman \u003c/em>(2018)\u003c/h3>\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/1Aoukxd0GvI'\n title='//www.youtube.com/embed/1Aoukxd0GvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte’s final film appearance might also be among his most fitting. He only appears in one scene of Spike Lee’s historical drama as a fictional character recounting the real-life 1916 lynching of Jesse Washington. Belafonte, seated in a wicker chair that recalls a famous image of \u003ca href=\"https://www.archives.gov/research/african-americans/individuals/huey-newton\">Black Panther Huey P. Newton\u003c/a>, is positioned as an elder statesman. As he describes the horrors of that lynching and draws a connection to D.W. Griffith’s \u003cem>Birth of a Nation\u003c/em>, he’s essentially playing a version of himself: A stirring storyteller and political force, passing down wisdom and history to the next generation of activists.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This episode was produced by Candice Lim and edited by Jessica Reedy. It was hosted by Stephen Thompson. The text was edited by Ciera Crawford. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Three+Harry+Belafonte+performances+you+won%27t+want+to+miss&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Harry Belafonte, Civil Rights Giant and Humanitarian Entertainer, Dies at 96",
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"content": "\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=H5dpBWlRANE\u003c/p>\n\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXBJW1PuU8\u003c/p>\n\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zh1ow6zKapQ\u003c/p>\n\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYYkJ0kwNss\u003c/p>\n\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harry Belafonte, the civil rights and entertainment giant who began as a groundbreaking actor and singer and became an activist, humanitarian and conscience of the world, has died. He was 96.\u003c/p>\n\u003cp>Belafonte died Tuesday of congestive heart failure at his New York home, his wife Pamela by his side, said Ken Sunshine, of public relations firm Sunshine Sachs Morgan & Lylis.\u003c/p>\n\u003cp>With his glowing, handsome face and silky-husky voice, Belafonte was one of the first Black performers to gain a wide following on film and to sell a million records as a singer; many still know him for his signature hit “\u003ca href=\"https://www.youtube.com/watch?v=H5dpBWlRANE\">Banana Boat Song (Day-O)\u003c/a>,” and its call of “Day-O! Daaaaay-O.” But he forged a greater legacy once he scaled back his performing career in the 1960s and lived out his hero Paul Robeson’s decree that artists are “gatekeepers of truth.”\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/H5dpBWlRANE'\n title='//www.youtube.com/embed/H5dpBWlRANE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He stands as the model and the epitome of the celebrity activist. Few kept up with Belafonte’s time and commitment and none his stature as a meeting point among Hollywood, Washington and the civil rights movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Belafonte not only participated in protest marches and benefit concerts, but helped organize and raise support for them. He worked closely with his friend and generational peer the Rev. Martin Luther King Jr., often intervening on his behalf with both politicians and fellow entertainers and helping him financially. He risked his life and livelihood and set high standards for younger Black celebrities, scolding Jay Z and Beyoncé for failing to meet their “social responsibilities,” and mentoring Usher, Common, Danny Glover and many others. In Spike Lee’s 2018 film \u003cem>BlacKkKlansman\u003c/em>, he was fittingly cast as an elder statesman schooling young activists about the country’s past.\u003c/p>\n\u003cp>Belafonte’s friend, civil rights leader Andrew Young, would note that Belafonte was the rare person to grow more radical with age. He was ever engaged and unyielding, willing to take on Southern segregationists, Northern liberals, the billionaire Koch brothers and the country’s first Black president, Barack Obama, whom Belafonte would remember asking to cut him “some slack.”\u003c/p>\n\u003cp>Belafonte responded, “What makes you think that’s not what I’ve been doing?”\u003c/p>\n\u003cfigure id=\"attachment_13928238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-621734964.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte attends the 2016 Library Lions gala at New York Public Library on November 7, 2016 in New York City. \u003ccite>(Gary Gershoff/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte had been a major artist since the 1950s. He won a Tony Award in 1954 for his starring role in John Murray Anderson’s \u003cem>Almanac\u003c/em> and five years later became the first Black performer to win an Emmy for the TV special “Tonight with Harry Belafonte.”\u003c/p>\n\u003cp>In 1954, he co-starred with Dorothy Dandridge in the Otto Preminger-directed musical \u003cem>Carmen Jones\u003c/em>, a popular breakthrough for an all-Black cast. The 1957 movie \u003cem>Island in the Sun\u003c/em> was banned in several Southern cities, where theater owners were threatened by the Ku Klux Klan because of the film’s interracial romance between Belafonte and Joan Fontaine.\u003c/p>\n\u003cp>His \u003cem>Calypso\u003c/em>, released in 1955, became the first officially certified million-selling album by a solo performer, and started a national infatuation with Caribbean rhythms (Belafonte was nicknamed, reluctantly, the “King of Calypso″). Admirers of Belafonte included a young Bob Dylan, who debuted on record in the early ’60s by playing harmonica on Belafonte’s “\u003ca href=\"https://www.youtube.com/watch?v=sRVlYpDAOEI\">Midnight Special\u003c/a>.”\u003c/p>\n\u003cp>“Harry was the best balladeer in the land and everybody knew it,” Dylan later wrote. “He was a fantastic artist, sang about lovers and slaves — chain gang workers, saints and sinners and children. … Harry was that rare type of character that radiates greatness, and you hope that some of it rubs off on you.”\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/kMXBJW1PuU8'\n title='//www.youtube.com/embed/kMXBJW1PuU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Belafonte befriended King in the spring of 1956 after the young civil rights leader called and asked for a meeting. They spoke for hours, and Belafonte would remember feeling King raised him to the “higher plane of social protest.” Then at the peak of his singing career, Belafonte was soon producing a benefit concert for the bus boycott in Montgomery, Alabama that helped make King a national figure. By the early 1960s, he had decided to make civil rights his priority.\u003c/p>\n\u003cp>“I was having almost daily talks with Martin,” Belafonte wrote in his memoir \u003cem>My Song\u003c/em>, published in 2011. “I realized that the movement was more important than anything else.”\u003c/p>\n\u003cp>The Kennedys were among the first politicians to seek his opinions, which he willingly shared. John F. Kennedy, at a time when Blacks were as likely to vote for Republicans as for Democrats, was so anxious for his support that during the 1960 election he visited Belafonte at his Manhattan home. Belafonte schooled Kennedy on the importance of King, and arranged for them to speak.\u003c/p>\n\u003cp>“I was quite taken by the fact that he (Kennedy) knew so little about the Black community,” Belafonte told NBC in 2013. “He knew the headlines of the day, but he wasn’t really anywhere nuanced or detailed on the depth of Black anguish or what our struggle’s really about.”\u003c/p>\n\u003cp>Belafonte would often criticize the Kennedys for their reluctance to challenge the Southern segregationists who were then a substantial part of the Democratic Party. He argued with Attorney General Robert F. Kennedy, the president’s brother, over the government’s failure to protect the “Freedom Riders” trying to integrate bus stations. He was among the Black activists at a widely publicized meeting with the attorney general, when playwright Lorraine Hansberry and others stunned Kennedy by questioning whether the country even deserved Black allegiance.\u003c/p>\n\u003cp>“Bobby turned red at that. I had never seen him so shaken,” Belafonte later wrote.\u003c/p>\n\u003cfigure id=\"attachment_13928235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg\" alt=\"Two Black men in the 1960s dressed in formal evening wear.\" width=\"800\" height=\"652\" class=\"size-medium wp-image-13928235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-3226639.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">American actor and singer Harry Belafonte with American actor Sidney Poitier at the New York premiere of director George Stevens’ film, ‘The Greatest Story Ever Told,’ in which Poitier starred, New York City, circa 1965. \u003ccite>(Photo by Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1963, Belafonte was deeply involved with the March on Washington. He recruited his close friend Sidney Poitier, Paul Newman and other celebrities and persuaded the left-wing Marlon Brando to co-chair the Hollywood delegation with the more conservative Charlton Heston, a pairing designed to appeal to the broadest possible audience. In 1964, he and Poitier personally delivered tens of thousands of dollar to activists in Mississippi after three “Freedom Summer” volunteers were murdered — the two celebrities were chased by car at one point by members of the KKK. The following year, he brought in Tony Bennett, Joan Baez and other singers to perform for the marchers in Selma, Alabama.\u003c/p>\n\u003cp>When King was assassinated, in 1968, Belafonte helped pick out the suit he was buried in, sat next to his widow, Coretta, at the funeral, and continued to support his family, in part through an insurance policy he had taken out on King in his lifetime.\u003c/p>\n\u003cp>“Much of my political outlook was already in place when I encountered Dr. King,” Belafonte later wrote. “I was well on my way and utterly committed to the civil rights struggle. I came to him with expectations and he affirmed them.”\u003c/p>\n\u003cp>King’s death left Belafonte isolated from the civil rights community. He was turned off by the separatist beliefs of Stokely Carmichael and other “Black Power” activists and had little chemistry with King’s designated successor, the Rev. Ralph Abernathy. But the entertainer’s causes extended well beyond the U.S.\u003c/p>\n\u003cp>He mentored South African singer and activist Miriam Makeba and helped introduce her to American audiences, the two winning a Grammy in 1964 for the concert record \u003cem>An Evening With Belafonte/Makeba\u003c/em>. He coordinated Nelson Mandela’s first visit to the U.S. since being released from prison in 1990. A few years earlier, he initiated the all-star, million-selling “We Are the World” recording, the Grammy-winning charity song for famine relief in Africa.\u003c/p>\n\u003cp>Belafonte’s early life and career paralleled those of Poitier, who died in 2022. Both spent part of their childhoods in the Caribbean and ended up in New York. Both served in the military during World War II, acted in the American Negro Theatre and then broke into film. Poitier shared his belief in civil rights, but still dedicated much of his time to acting, a source of some tension between them. While Poitier had a sustained and historic run in the 1960s as a leading man and box office success, Belafonte grew tired of acting and turned down parts he regarded as “neutered.”\u003c/p>\n\u003cp>“Sidney radiated a truly saintly dignity and calm. Not me,” Belafonte wrote in his memoir. “I didn’t want to tone down my sexuality, either. Sidney did that in every role he took.”\u003c/p>\n\u003cfigure id=\"attachment_13928231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg\" alt=\"A man in a dark jacket holds up a peace sign against overhead wires\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13928231\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-883555460.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harry Belafonte joins more than 300,000 people in the hitherto biggest peace demonstration in Germany, October 1981. \u003ccite>(Klaus Roseullstein bild via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Belafonte was very much a human being. He acknowledged extra-marital affairs, negligence as a parent and a frightening temper, driven by lifelong insecurity. “Woe to the musician who missed his cue, or the agent who fouled up a booking,” he confided.\u003c/p>\n\u003cp>In his memoir, he chastised Poitier for a “radical breach″ by backing out on a commitment to star as Mandela in a TV miniseries Belafonte had conceived, then agreeing to play Mandela for a rival production. He became so estranged from King’s widow and children that he was not asked to speak at her funeral. In 2013, he sued three of King’s children over control of some of the civil rights leader’s personal papers. In his memoir, he would allege that the King children were more interested in “selling trinkets and memorabilia” than in serious thought.\u003c/p>\n\u003cp>He made news years earlier when he compared Colin Powell, the first Black secretary of state, to a slave “permitted to come into the house of the master” for his service in the George W. Bush administration. He was in Washington in January 2009 as Obama was inaugurated, officiating along with Baez and others at a gala called the Inaugural Peace Ball. But Belafonte would later criticize Obama for failing to live up to his promise and lacking “fundamental empathy with the dispossessed, be they white or Black.”\u003c/p>\n\u003cp>Belafonte did occasionally serve in government, as cultural adviser for the Peace Corps during the Kennedy administration and decades later as goodwill ambassador for UNICEF. For his film and music career, he received the motion picture academy’s Jean Hersholt Humanitarian Award, a National Medal of Arts, a Grammy for lifetime achievement and numerous other honorary prizes. He found special pleasure in winning a New York Film Critics Award in 1996 for his work as a gangster in Robert Altman’s \u003cem>Kansas City\u003c/em>.\u003c/p>\n\u003cp>“I’m as proud of that film critics’ award as I am of all my gold records,” he wrote in his memoir.\u003c/p>\n\u003cp>He was married three times, most recently to photographer Pamela Frank, and had four children. Three of them — Shari, David and Gina — became actors.\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/Zh1ow6zKapQ'\n title='//www.youtube.com/embed/Zh1ow6zKapQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Harry Belafonte was born Harold George Bellanfanti Jr. in 1927, in a community of West Indians in Harlem. His father was a seaman and cook with Dutch and Jamaican ancestry and his mother, part Scottish, worked as a domestic. Both parents were undocumented immigrants and Belafonte recalled living “an underground life, as criminals of a sort, on the run.”\u003c/p>\n\u003cp>The household was violent: Belafonte sustained brutal beatings from his father, and he was sent to live for several years with relatives in Jamaica. Belafonte was a poor reader — he was probably dyslexic, he later realized — and dropped out of high school, soon joining the Navy. While in the service, he read \u003cem>Color and Democracy\u003c/em> by the Black scholar W.E.B. Du Bois and was deeply affected, calling it the start of his political education.\u003c/p>\n\u003cp>After the war, he found a job in New York as an assistant janitor for some apartment buildings. One tenant liked him enough to give him free tickets to a play at the American Negro Theatre, a community repertory for black performers. Belafonte was so impressed that he joined as a volunteer, then as an actor. Poitier was a peer, both of them “skinny, brooding and vulnerable within our hard shells of self-protection,” Belafonte later wrote.\u003c/p>\n\u003cp>Belafonte met Brando, Walter Matthau and other future stars while taking acting classes at the New School for Social Research. Brando was an inspiration as an actor, and he and Belafonte became close, sometimes riding on Brando’s motorcycle or double dating or playing congas together at parties. Over the years, Belafonte’s political and artistic lives would lead to friendships with everyone from Frank Sinatra and Lester Young to Eleanor Roosevelt and Fidel Castro.\u003c/p>\n\u003cfigure id=\"attachment_13928230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg\" alt=\"A man in a suit stands against a brick building in the 1960s\" width=\"800\" height=\"779\" class=\"size-medium wp-image-13928230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-800x779.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-1020x993.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-160x156.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742-768x748.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/GettyImages-50409742.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Harry Belafonte in his film debut as Mr. Williams, School Principal, in ‘Bright Road.’ \u003ccite>(John Swope/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His early stage credits included \u003cem>Days of Our Youth\u003c/em> and Sean O’Casey’s \u003cem>Juno and the Peacock\u003c/em>, a play Belafonte remembered less because of his own performance than because of a backstage visitor, Robeson, the actor, singer and activist.\u003c/p>\n\u003cp>“What I remember more than anything Robeson said, was the love he radiated, and the profound responsibility he felt, as an actor, to use his platform as a bully pulpit,″ Belafonte wrote in his memoir. His friendship with Robeson and support for left-wing causes eventually brought trouble from the government. FBI agents visited him at home and allegations of Communism nearly cost him an appearance on \u003cem>The Ed Sullivan Show\u003c/em>. Leftists suspected, and Belafonte emphatically denied, that he had named names of suspected Communists so he could perform on Sullivan’s show.\u003c/p>\n\u003cp>By the 1950s, Belafonte was also singing, finding gigs at the Blue Note, the Vanguard and other clubs — he was backed for one performance by Charlie Parker and Max Roach — and becoming immersed in folk, blues, jazz and the calypso he had heard while living in Jamaica. Starting in 1954, he released such top 10 albums as \u003cem>Mark Twain and Other Folk Favorites\u003c/em> and \u003cem>Belafonte\u003c/em>, and his popular singles included “Mathilda,” “Jamaica Farewell″ and “The Banana Boat Song,” a reworked Caribbean ballad that was a late addition to his “Calypso″ record.\u003c/p>\n\u003cp>“We found ourselves one or two songs short, so we threw in `Day-O’ as filler,″ Belafonte wrote in his memoir.\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/DYYkJ0kwNss'\n title='//www.youtube.com/embed/DYYkJ0kwNss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He was a superstar, but one criticized, and occasionally sued, for taking traditional material and not sharing the profits. Belafonte expressed regret and also worried about being typecast as a calypso singer, declining for years to sing “Day-O″ live after he gave television performances against banana boat backdrops.\u003c/p>\n\u003cp>Belafonte was the rare young artist to think about the business side of show business. He started one of the first all-Black music publishing companies. He produced plays, movies and TV shows, including Off-Broadway’s \u003cem>To Be Young, Gifted, and Black\u003c/em>, in 1969. He was the first Black person to produce for TV.\u003c/p>\n\u003cp>Belafonte made history in 1968 by filling in for Johnny Carson on the “Tonight” show for a full week. Later that year, a simple, spontaneous gesture led to another milestone. Appearing on a taped TV special starring Petula Clark, Belafonte joined the British singer on the anti-war song “On the Path of Glory.” At one point, Clark placed a hand on Belafonte’s arm. The show’s sponsor, Chrysler, demanded the segment be reshot. Clark and Belafonte resisted, successfully, and for the first time a man and woman of different colors touched on national television.\u003c/p>\n\u003cp>In the 1970s, he returned to movie acting, co-starring with Poitier in \u003cem>Buck and the Preacher\u003c/em>, a commercial flop, and the raucous and popular comedy \u003cem>Uptown Saturday Night\u003c/em>. His other film credits include \u003cem>Bobby\u003c/em>, \u003cem>White Man’s Burden\u003c/em>, and cameos in Altman’s \u003cem>The Player\u003c/em> and \u003cem>Ready to Wear\u003c/em>. He also appeared in the Altman-directed TV series \u003cem>Tanner on Tanner\u003c/em> and was among those interviewed for \u003cem>When the Levees Broke\u003c/em>, Spike Lee’s HBO documentary about Hurricane Katrina. In 2011, HBO aired a documentary about Belafonte, \u003cem>Sing Your Song\u003c/em>.\u003c/p>\n\u003cp>Mindful to the end that he grew up in poverty, Belafonte did not think of himself as an artist who became an activist, but an activist who happened to be an artist.\u003c/p>\n\u003cp>“When you grow up, son,” Belafonte remembered his mother telling him, “never go to bed at night knowing that there was something you could have done during the day to strike a blow against injustice and you didn’t do it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to his wife, Belafonte is survived by his children Adrienne Belafonte Biesemeyer, Shari Belafonte, Gina Belafonte and David Belafonte; two stepchildren, Sarah Frank and Lindsey Frank; and eight grandchildren.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92",
"headTitle": "Ahmad Jamal, Measured Maestro of Jazz Piano, Dies at 92 | KQED",
"content": "\u003cp>For most jazz performers, a song is part of a performance. For Ahmad Jamal, each song \u003cem>was\u003c/em> a performance. Over the course of a remarkable eight-decade career, Jamal, who passed away Sunday at the age of 92, created stellar recordings both as an ambitious youth and a sagely veteran. \u003c/p>\n\u003cp>Jamal’s death was confirmed by his daughter, Sumayah Jamal. He died Sunday afternoon in Ashley Falls, Mass., after a battle with prostate cancer.\u003c/p>\n\u003cp>Jamal’s influence and admirers spread far and wide in jazz. For instance, Miles Davis found enormous inspiration in his work: In his 1989 autobiography, \u003cem>Miles\u003c/em>, the legendary trumpeter said that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.” Miles went on to record Jamal’s “New Rhumba” on his classic 1957 recording \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13925776']His contemporary admirers are just as fervent. Pianist Ethan Iverson, a founding member of the exceptionally popular trio The Bad Plus, said, “All of his pieces are theatrical and contained. In some ways the Bad Plus was an extension of his classic trio.”\u003c/p>\n\u003cp>Pianist Vijay Iyer was just as adamant. “His sense of time is that of a dancer, or a comedian. His left hand stays focused, and his right hand is always in motion, interacting with, leaning on, and shading the pulse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He bends any song to his will, always open to the moment and always pushing the boundaries, willing to override whatever old chestnut he’s playing in search of something profoundly alive.”\u003c/p>\n\u003cp>Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. When he was 3 years old, his uncle challenged him to duplicate what he was playing on the piano, and the youngster actually could. He began formal studies of the piano at the age of 7 and quickly took on an advanced curriculum. He told Eugene Holley Jr. of \u003cem>Wax Poetics\u003c/em> in a 2018 interview, “I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first African-American opera company in the country.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZmvwCTMO1Lg\u003c/p>\n\u003cp>Jamal grew up in a Pittsburgh community that was rich in jazz history. His neighbors included the legendary pianists Earl Hines, Errol Garner and Mary Lou Williams. As a youth, Jamal delivered newspapers to the household of Billy Strayhorn. When Jamal began his professional career at the age of 14, Art Tatum, an early titan of the keyboard, proclaimed him “a coming great.” During a tour stop in Detroit, Jamal, who was born to Baptist parents, converted to Islam and changed his name. \u003c/p>\n\u003cp>His fluency in European classical music — Jamal disdained the term jazz, preferring American classical music as a descriptor for his work — was a highlight of his style. In a 2001 \u003cem>New York Times\u003c/em> article, Ben Waltzer, a pianist and curriculum director at the University of Chicago, noted, “when we listen to his music, fragments from Ravel’s ‘Bolero’ and Falla’s ‘Ritual Fire Dance’ mingle with the blues, standard songs, melodic catch-phrases from bebop, and the ‘Marseillaise.'”\u003c/p>\n\u003cp>This may not seem remarkable today, when most jazz musicians are conservatory-trained and well versed in art music, from Louis Armstrong to Iannis Xenakis and from Laurie Anderson to John Zorn. But Jamal was a youth when there were significant barriers to African Americans entering the academy. “In Pittsburgh, we didn’t separate the two schools,” he told Waltzer.\u003c/p>\n\u003cp>Jamal’s style went well beyond a diverse range of source material; he expanded the borders and depth of improvisation. “Jazz improvisation is generally understood as a narrative melodic line composed spontaneously in relation to a song’s harmonic structure,” wrote Waltzer. “Jamal broadened this concept by using recurring riffs, vamps and ostinatos — tropes of big-band jazz that were employed as background accompaniment for featured instrumentalists — not just to frame solos, as many musicians did, but as the stuff of improvisation itself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pMOVImLMq_A\u003c/p>\n\u003cp>In the early and mid-’50s, Jamal led various trios and quartets, before settling into a trio setting with bassist Israel Crosby and drummer Vernel Fournier. In 1958, they released the landmark jazz recording, \u003cem>At The Pershing: But Not For Me\u003c/em>. It is one of the most popular and influential recordings in jazz history. It stayed on the \u003cem>Billboard\u003c/em> Top 200 album chart for an astounding 108 weeks. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WIW0bRcV6Ic\u003c/p>\n\u003cp>Iverson said of the title track, “The classic Jamal Trio with Crosby and Fournier is one of the greatest groups of all time. ‘But Not For Me’ is a perfect three minutes. Literally perfect. There’s nothing better.”\u003c/p>\n\u003cp>The trio’s version of “Poinciana” sparked the popularity of the recording, and it became a signature tune for Jamal. He told \u003cem>Wax Poetics\u003c/em>, “It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z0e2G32f3IU\u003c/p>\n\u003cp>Jamal visited Africa in 1959. Upon his return to Chicago, he had a failed venture as a club owner, then took a hiatus from recording in the early ’60s. By the middle of the decade, he’d resumed recording and touring. His 1969 album, \u003cem>The Awakening\u003c/em>, was widely hailed for its rendering of jazz standards and originals. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpwxyQh2ZdA\u003c/p>\n\u003cp>His music was found in the soundtracks of movies like \u003cem>M*A*S*H\u003c/em> and \u003cem>The Bridges of Madison County\u003c/em>. In a 1985 episode of NPR’s\u003cem> Piano Jazz\u003c/em>, Jamal told host and fellow piano legend Marian McPartland that his favorite recording was “the next one.” Then he allowed that the \u003cem>Pershing\u003c/em> “was close to perfection.” He also said that he continued to focus on ballads. “They are difficult to play,” he told her, “it takes years of living to read them properly.” In 1994, he was awarded a National Endowment for the Arts Jazz Master Fellowship.\u003c/p>\n\u003cp>He continued making stellar recordings into the past decade. His 2017 release, \u003cem>Marseille\u003c/em>, was noted in the NPR Music Jazz Critics Poll. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-j2YWdiaBa4\u003c/p>\n\u003cp>The recording featured all of the hallmarks that made Jamal a great pianist and bandleader, and the drummer Herlin Riley, like Fournier, was from New Orleans. It prompted Iyer to note that Jamal’s lineage of New Orleanian drummers — Fournier, Idris Muhammad and Riley — suggests rhythm as a ritual or cultural cornerstone. \u003c/p>\n\u003cp>Jamal’s work continued to impress other pianists. In 2014 Matthew Shipp told NPR’s Karen Michel, “His imagination is so deep. One of the joys of listening to him is to see how his fertile imagination interacts with the material he does pick and recombines it into a musical entity that we’ve never heard. I mean, he is a musical architect of the highest order.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Waltzer added, “innovation in jazz can be subtle. Rather than reaching outward to create an overtly revolutionary sound, Mr. Jamal explored the inner workings of the small ensemble to control, shape and dramatize his music.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ahmad+Jamal%2C+measured+maestro+of+the+jazz+piano%2C+dies+at+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most jazz performers, a song is part of a performance. For Ahmad Jamal, each song \u003cem>was\u003c/em> a performance. Over the course of a remarkable eight-decade career, Jamal, who passed away Sunday at the age of 92, created stellar recordings both as an ambitious youth and a sagely veteran. \u003c/p>\n\u003cp>Jamal’s death was confirmed by his daughter, Sumayah Jamal. He died Sunday afternoon in Ashley Falls, Mass., after a battle with prostate cancer.\u003c/p>\n\u003cp>Jamal’s influence and admirers spread far and wide in jazz. For instance, Miles Davis found enormous inspiration in his work: In his 1989 autobiography, \u003cem>Miles\u003c/em>, the legendary trumpeter said that Jamal “knocked me out with his concept of space, his lightness of touch, his understatement, and the way he phrases notes and chords and passages.” Miles went on to record Jamal’s “New Rhumba” on his classic 1957 recording \u003cem>Miles Ahead\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His contemporary admirers are just as fervent. Pianist Ethan Iverson, a founding member of the exceptionally popular trio The Bad Plus, said, “All of his pieces are theatrical and contained. In some ways the Bad Plus was an extension of his classic trio.”\u003c/p>\n\u003cp>Pianist Vijay Iyer was just as adamant. “His sense of time is that of a dancer, or a comedian. His left hand stays focused, and his right hand is always in motion, interacting with, leaning on, and shading the pulse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He bends any song to his will, always open to the moment and always pushing the boundaries, willing to override whatever old chestnut he’s playing in search of something profoundly alive.”\u003c/p>\n\u003cp>Jamal was born Frederick Russell Jones in Pittsburgh on July 2, 1930. When he was 3 years old, his uncle challenged him to duplicate what he was playing on the piano, and the youngster actually could. He began formal studies of the piano at the age of 7 and quickly took on an advanced curriculum. He told Eugene Holley Jr. of \u003cem>Wax Poetics\u003c/em> in a 2018 interview, “I studied Art Tatum, Bach, Beethoven, Count Basie, John Kirby, and Nat Cole. I was studying Liszt. I had to know European and American classical music. My mother was rich in spirit, and she led me to another rich person: my teacher, Mary Cardwell Dawson, who started the first African-American opera company in the country.”\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/ZmvwCTMO1Lg'\n title='//www.youtube.com/embed/ZmvwCTMO1Lg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jamal grew up in a Pittsburgh community that was rich in jazz history. His neighbors included the legendary pianists Earl Hines, Errol Garner and Mary Lou Williams. As a youth, Jamal delivered newspapers to the household of Billy Strayhorn. When Jamal began his professional career at the age of 14, Art Tatum, an early titan of the keyboard, proclaimed him “a coming great.” During a tour stop in Detroit, Jamal, who was born to Baptist parents, converted to Islam and changed his name. \u003c/p>\n\u003cp>His fluency in European classical music — Jamal disdained the term jazz, preferring American classical music as a descriptor for his work — was a highlight of his style. In a 2001 \u003cem>New York Times\u003c/em> article, Ben Waltzer, a pianist and curriculum director at the University of Chicago, noted, “when we listen to his music, fragments from Ravel’s ‘Bolero’ and Falla’s ‘Ritual Fire Dance’ mingle with the blues, standard songs, melodic catch-phrases from bebop, and the ‘Marseillaise.'”\u003c/p>\n\u003cp>This may not seem remarkable today, when most jazz musicians are conservatory-trained and well versed in art music, from Louis Armstrong to Iannis Xenakis and from Laurie Anderson to John Zorn. But Jamal was a youth when there were significant barriers to African Americans entering the academy. “In Pittsburgh, we didn’t separate the two schools,” he told Waltzer.\u003c/p>\n\u003cp>Jamal’s style went well beyond a diverse range of source material; he expanded the borders and depth of improvisation. “Jazz improvisation is generally understood as a narrative melodic line composed spontaneously in relation to a song’s harmonic structure,” wrote Waltzer. “Jamal broadened this concept by using recurring riffs, vamps and ostinatos — tropes of big-band jazz that were employed as background accompaniment for featured instrumentalists — not just to frame solos, as many musicians did, but as the stuff of improvisation itself.”\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/pMOVImLMq_A'\n title='//www.youtube.com/embed/pMOVImLMq_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the early and mid-’50s, Jamal led various trios and quartets, before settling into a trio setting with bassist Israel Crosby and drummer Vernel Fournier. In 1958, they released the landmark jazz recording, \u003cem>At The Pershing: But Not For Me\u003c/em>. It is one of the most popular and influential recordings in jazz history. It stayed on the \u003cem>Billboard\u003c/em> Top 200 album chart for an astounding 108 weeks. \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/WIW0bRcV6Ic'\n title='//www.youtube.com/embed/WIW0bRcV6Ic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Iverson said of the title track, “The classic Jamal Trio with Crosby and Fournier is one of the greatest groups of all time. ‘But Not For Me’ is a perfect three minutes. Literally perfect. There’s nothing better.”\u003c/p>\n\u003cp>The trio’s version of “Poinciana” sparked the popularity of the recording, and it became a signature tune for Jamal. He told \u003cem>Wax Poetics\u003c/em>, “It was a combination of things: Israel Crosby’s lines, what I was playing, and Vernel—if you listen to his work on “Poinciana,” you’d think it was two drummers!”\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/Z0e2G32f3IU'\n title='//www.youtube.com/embed/Z0e2G32f3IU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jamal visited Africa in 1959. Upon his return to Chicago, he had a failed venture as a club owner, then took a hiatus from recording in the early ’60s. By the middle of the decade, he’d resumed recording and touring. His 1969 album, \u003cem>The Awakening\u003c/em>, was widely hailed for its rendering of jazz standards and originals. \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/zpwxyQh2ZdA'\n title='//www.youtube.com/embed/zpwxyQh2ZdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His music was found in the soundtracks of movies like \u003cem>M*A*S*H\u003c/em> and \u003cem>The Bridges of Madison County\u003c/em>. In a 1985 episode of NPR’s\u003cem> Piano Jazz\u003c/em>, Jamal told host and fellow piano legend Marian McPartland that his favorite recording was “the next one.” Then he allowed that the \u003cem>Pershing\u003c/em> “was close to perfection.” He also said that he continued to focus on ballads. “They are difficult to play,” he told her, “it takes years of living to read them properly.” In 1994, he was awarded a National Endowment for the Arts Jazz Master Fellowship.\u003c/p>\n\u003cp>He continued making stellar recordings into the past decade. His 2017 release, \u003cem>Marseille\u003c/em>, was noted in the NPR Music Jazz Critics Poll. \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/-j2YWdiaBa4'\n title='//www.youtube.com/embed/-j2YWdiaBa4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recording featured all of the hallmarks that made Jamal a great pianist and bandleader, and the drummer Herlin Riley, like Fournier, was from New Orleans. It prompted Iyer to note that Jamal’s lineage of New Orleanian drummers — Fournier, Idris Muhammad and Riley — suggests rhythm as a ritual or cultural cornerstone. \u003c/p>\n\u003cp>Jamal’s work continued to impress other pianists. In 2014 Matthew Shipp told NPR’s Karen Michel, “His imagination is so deep. One of the joys of listening to him is to see how his fertile imagination interacts with the material he does pick and recombines it into a musical entity that we’ve never heard. I mean, he is a musical architect of the highest order.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waltzer added, “innovation in jazz can be subtle. Rather than reaching outward to create an overtly revolutionary sound, Mr. Jamal explored the inner workings of the small ensemble to control, shape and dramatize his music.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ahmad+Jamal%2C+measured+maestro+of+the+jazz+piano%2C+dies+at+92&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "heklina-dies-drag-legend-san-francsico",
"title": "Heklina, San Francisco Drag Legend, Has Died in London",
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"headTitle": "Heklina, San Francisco Drag Legend, Has Died in London | KQED",
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"content": "\u003cp>Heklina, the San Francisco drag legend and longtime performer at clubs around the city, has died in London, according to multiple reports.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.facebook.com/joshuagrannell/posts/pfbid02KjDojuS1c3sNoGwranKLk9FKkfunAZYLBj3GD3qJhiKW5t7kmqVRsCDfdqoUWHWel\">a Facebook post\u003c/a> on Monday, friend and colleague Peaches Christ wrote, “I am shocked and horrified to bring this news to you. … This morning, in London, England, I went to collect my dear friend Heklina, who is co-starring with me in a ‘Mommie Queerest’ show here, and found her dead. I do not know the cause of death yet. I know this is shocking news and I am beyond stunned.”\u003c/p>\n\u003cp>London’s Soho Theatre, where Peaches Christ and Heklina had been performing together in “Mommie Queerest,” also \u003ca href=\"https://twitter.com/sohotheatre/status/1642989190072680451\">posted a message\u003c/a> of being “in shock and incredibly saddened with news of Heklina’s passing. Our thoughts are with Peaches, Mommie Queerest company, Heklina’s family, friends + their wider community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch a short documentary on Heklina here\u003c/strong>:\u003c/em>\u003cbr>\nhttps://www.youtube.com/watch?v=61qbUimYg9g\u003c/p>\n\u003cp>Heklina co-founded popular drag club Oasis, regularly performed at El Rio and The Stud, and was the creator and hostess of the long-running show Trannyshack (later called Mother). Heklina appeared regularly in drag parodies of popular television shows like \u003cem>Sex in the City\u003c/em>, \u003cem>Golden Girls\u003c/em> and \u003cem>Roseanne\u003c/em>, and produced and hosted a party called Daytime Realness — with the tagline “Dancing, Drag & Disorder” — most recently at El Rio just weeks ago, on March 19.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We at El Rio are absolutely devastated to hear of the passing of Heklina,” wrote El Rio co-owner Lynne Angel in an email to KQED. “She was a huge part of our extended family and we will miss her terribly. The mark she made on the San Francisco drag and performance scene is incomparable. We were blessed to work with her often and she was a joy to witness both on stage and off. May she be surrounded by cats, ’80s New Wave and football butts eternally. Rest in Power to one of the best.”\u003c/p>\n\u003cp>Heklina was born in Minneapolis, and was raised in New York, New England and Iceland. After a stint in the Navy, Heklina moved to San Francisco; in an interview segment from a KQED documentary in 2015, Heklina recalled that “immediately I fell in love with it, and I felt right at home.”\u003c/p>\n\u003cfigure id=\"attachment_12242568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/heklina-2015-800x533.jpg\" alt=\"Heklina\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heklina, pictured here in a promotional photo for one of many events at Oasis. \u003ccite>(Nick Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met Heklina around 1995 — which now feels like many generations past, just a year before she started her weekly party T-Shack at The Stud,” veteran drag performer Juanita MORE! wrote in an email to KQED. “I performed on the second week of the club, not caring or taking any consideration about what the theme was — and that’s how our friendship rolled. … We respected and knew what each other was great at doing. We cracked each other up all the time. The sound of her laugh will be missed greatly by everyone.”\u003c/p>\n\u003cp>[aside postID='arts_10134691']Artist and filmmaker Leo Herrera started working for Heklina as a photographer shortly after he first moved to San Francisco in 2003; Herrera was 21 at the time. By then, Trannyshack had become a San Francisco drag institution, and Heklina took Herrera under her wing. “Trannyshack brought drag back to its transgressive roots, and its roots of political resistance,” Herrera said. “There was a lot of healing that happened in the spaces that Heklina created, especially for folks that had come out of the AIDS crisis, and had moved from really homophobic places, like it was for me and my brother.”\u003c/p>\n\u003cp>Herrera says Heklina influenced a generation of artists — both drag performers and others like him who’ve gone on to make an impact in other fields. “I think a lot of us always strived to get her approval because it was really hard to. But once you got one of her deep cackles, you knew you had done something right.”\u003c/p>\n\u003cp>https://twitter.com/sfoasis/status/1643009770927042560\u003c/p>\n\u003cp>News of Heklina’s passing devastated the drag community in San Francisco and beyond. “I kept thinking it was an April Fool’s joke, it doesn’t make sense. I spoke to her the day before yesterday when she was heading to England from Iceland,” Oasis owner D’Arcy Drollinger told the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/drag-performer-heklina-reported-dead-in-london\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a>. “But it is confirmed, it is real.”\u003c/p>\n\u003cp>By Monday afternoon, a tearful crowd gathered for an informal memorial at Oasis, which Heklina co-owned until 2019. “She was a powerhouse. And she also had a soft side, and a vulnerable side, that I was lucky enough to get to know,” booking manager Carissa Hatchel, who performs as Snaxx, told KQED. “She was a very complicated person, and was very, very important to so many people in the community for so many decades now.”\u003c/p>\n\u003cp>“I started drag about eight years ago, and Heklina was one of the first queens I ever saw,” said Oasis performer Nicki Jizz. “She was unfiltered, she was unapologetically Heklina. She said whatever came to her mind. She didn’t care what anyone thought — which is a great trait for a drag performer.”\u003c/p>\n\u003cp>In a statement, State Senator Scott Wiener said he first saw Heklina perform in the 1990s, and was “devastated” by the news.\u003c/p>\n\u003cp>“Heklina was an icon in the truest sense — funny, caring, outrageous, and brave,” Wiener wrote. “I’ve rarely worked with someone as fierce, creative, and dedicated. … She was the soul of San Francisco, and it’s hard to imagine the city without her.”\u003c/p>\n\u003cp>Herrera echoed the sentiments of many on Monday that Heklina was synonymous with the best of drag tradition.\u003c/p>\n\u003cp>“A successful artist embodies their medium, so when we think of a brush or an instrument, we think of their name,” he said. “And I think for many of us, when we hear drag, we’re going to think of Heklina. She embodied the oldest and most powerful kind of drag that was about survival and political freedom, and I think we’re all going to miss that very much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/author/scottshafer\">Scott Shafer\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\n",
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"title": "Heklina, San Francisco Drag Legend, Has Died in London | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heklina, the San Francisco drag legend and longtime performer at clubs around the city, has died in London, according to multiple reports.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.facebook.com/joshuagrannell/posts/pfbid02KjDojuS1c3sNoGwranKLk9FKkfunAZYLBj3GD3qJhiKW5t7kmqVRsCDfdqoUWHWel\">a Facebook post\u003c/a> on Monday, friend and colleague Peaches Christ wrote, “I am shocked and horrified to bring this news to you. … This morning, in London, England, I went to collect my dear friend Heklina, who is co-starring with me in a ‘Mommie Queerest’ show here, and found her dead. I do not know the cause of death yet. I know this is shocking news and I am beyond stunned.”\u003c/p>\n\u003cp>London’s Soho Theatre, where Peaches Christ and Heklina had been performing together in “Mommie Queerest,” also \u003ca href=\"https://twitter.com/sohotheatre/status/1642989190072680451\">posted a message\u003c/a> of being “in shock and incredibly saddened with news of Heklina’s passing. Our thoughts are with Peaches, Mommie Queerest company, Heklina’s family, friends + their wider community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Watch a short documentary on Heklina here\u003c/strong>:\u003c/em>\u003cbr>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/61qbUimYg9g'\n title='//www.youtube.com/embed/61qbUimYg9g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Heklina co-founded popular drag club Oasis, regularly performed at El Rio and The Stud, and was the creator and hostess of the long-running show Trannyshack (later called Mother). Heklina appeared regularly in drag parodies of popular television shows like \u003cem>Sex in the City\u003c/em>, \u003cem>Golden Girls\u003c/em> and \u003cem>Roseanne\u003c/em>, and produced and hosted a party called Daytime Realness — with the tagline “Dancing, Drag & Disorder” — most recently at El Rio just weeks ago, on March 19.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We at El Rio are absolutely devastated to hear of the passing of Heklina,” wrote El Rio co-owner Lynne Angel in an email to KQED. “She was a huge part of our extended family and we will miss her terribly. The mark she made on the San Francisco drag and performance scene is incomparable. We were blessed to work with her often and she was a joy to witness both on stage and off. May she be surrounded by cats, ’80s New Wave and football butts eternally. Rest in Power to one of the best.”\u003c/p>\n\u003cp>Heklina was born in Minneapolis, and was raised in New York, New England and Iceland. After a stint in the Navy, Heklina moved to San Francisco; in an interview segment from a KQED documentary in 2015, Heklina recalled that “immediately I fell in love with it, and I felt right at home.”\u003c/p>\n\u003cfigure id=\"attachment_12242568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12242568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/10/heklina-2015-800x533.jpg\" alt=\"Heklina\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/heklina-2015-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Heklina, pictured here in a promotional photo for one of many events at Oasis. \u003ccite>(Nick Ice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I met Heklina around 1995 — which now feels like many generations past, just a year before she started her weekly party T-Shack at The Stud,” veteran drag performer Juanita MORE! wrote in an email to KQED. “I performed on the second week of the club, not caring or taking any consideration about what the theme was — and that’s how our friendship rolled. … We respected and knew what each other was great at doing. We cracked each other up all the time. The sound of her laugh will be missed greatly by everyone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Artist and filmmaker Leo Herrera started working for Heklina as a photographer shortly after he first moved to San Francisco in 2003; Herrera was 21 at the time. By then, Trannyshack had become a San Francisco drag institution, and Heklina took Herrera under her wing. “Trannyshack brought drag back to its transgressive roots, and its roots of political resistance,” Herrera said. “There was a lot of healing that happened in the spaces that Heklina created, especially for folks that had come out of the AIDS crisis, and had moved from really homophobic places, like it was for me and my brother.”\u003c/p>\n\u003cp>Herrera says Heklina influenced a generation of artists — both drag performers and others like him who’ve gone on to make an impact in other fields. “I think a lot of us always strived to get her approval because it was really hard to. But once you got one of her deep cackles, you knew you had done something right.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>News of Heklina’s passing devastated the drag community in San Francisco and beyond. “I kept thinking it was an April Fool’s joke, it doesn’t make sense. I spoke to her the day before yesterday when she was heading to England from Iceland,” Oasis owner D’Arcy Drollinger told the \u003ca href=\"https://datebook.sfchronicle.com/entertainment/drag-performer-heklina-reported-dead-in-london\">\u003ci>San Francisco Chronicle\u003c/i>\u003c/a>. “But it is confirmed, it is real.”\u003c/p>\n\u003cp>By Monday afternoon, a tearful crowd gathered for an informal memorial at Oasis, which Heklina co-owned until 2019. “She was a powerhouse. And she also had a soft side, and a vulnerable side, that I was lucky enough to get to know,” booking manager Carissa Hatchel, who performs as Snaxx, told KQED. “She was a very complicated person, and was very, very important to so many people in the community for so many decades now.”\u003c/p>\n\u003cp>“I started drag about eight years ago, and Heklina was one of the first queens I ever saw,” said Oasis performer Nicki Jizz. “She was unfiltered, she was unapologetically Heklina. She said whatever came to her mind. She didn’t care what anyone thought — which is a great trait for a drag performer.”\u003c/p>\n\u003cp>In a statement, State Senator Scott Wiener said he first saw Heklina perform in the 1990s, and was “devastated” by the news.\u003c/p>\n\u003cp>“Heklina was an icon in the truest sense — funny, caring, outrageous, and brave,” Wiener wrote. “I’ve rarely worked with someone as fierce, creative, and dedicated. … She was the soul of San Francisco, and it’s hard to imagine the city without her.”\u003c/p>\n\u003cp>Herrera echoed the sentiments of many on Monday that Heklina was synonymous with the best of drag tradition.\u003c/p>\n\u003cp>“A successful artist embodies their medium, so when we think of a brush or an instrument, we think of their name,” he said. “And I think for many of us, when we hear drag, we’re going to think of Heklina. She embodied the oldest and most powerful kind of drag that was about survival and political freedom, and I think we’re all going to miss that very much.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/author/scottshafer\">Scott Shafer\u003c/a> contributed to this report. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wayne Shorter, Legendary Jazz Composer and Saxophonist, Dies at 89",
"headTitle": "Wayne Shorter, Legendary Jazz Composer and Saxophonist, Dies at 89 | KQED",
"content": "\u003cp>Wayne Shorter, whose colorful compositional style and searching improvisations on the tenor saxophone altered the direction of jazz, died in Los Angeles on Thursday. He was 89 years old. \u003c/p>\n\u003cp>Known for his time performing in the Miles Davis Quintet, Weather Report and Art Blakey’s Jazz Messengers, Shorter was a commanding presence on stage and on record. But it was his compositions, such as his trademark tune “Footprints,” which pulled jazz into new realms.\u003c/p>\n\u003cp>Born in New Jersey, Shorter began making a noticeable mark on jazz in the 1960s, when he joined Blakey’s group. After the dissolution of Davis’ “first great quintet” with John Coltrane, Shorter joined the enigmatic trumpeter in 1964, the same year he recorded a trio of classic albums — \u003cem>Speak No Evil\u003c/em>, \u003cem>Juju\u003c/em> and \u003cem>Night Dreamer\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13925783\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg\" alt=\"\" width=\"599\" height=\"600\" class=\"size-full wp-image-13925783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377-160x160.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter’s 1964 album ‘Speak No Evil,’ which featured his first wife, Teruko Nakagami, on the cover. \u003ccite>(Blue Note Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playing alongside Davis, as well as bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock, Shorter was able to bring his intellectual confidence and philosophical background to jazz’s most high-profile group. \u003c/p>\n\u003cp>This manifested not just in his flowery playing but his writing, with more angular tunes like “E.S.P.,” “Nefertiti,” and “Footprints.” While others left Davis when he went in new directions with early-fusion albums like \u003cem>Bitches Brew\u003c/em>, Shorter stayed on for the ride. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pxb7pNXJvng\u003c/p>\n\u003cp>In the 1970s, Shorter joined Weather Report, the groundbreaking electric fusion band, with Joe Zawinul and Jaco Pastorius. He also collaborated with rock icons like Joni Mitchell and Steely Dan, playing on recording like \u003cem>Mingus\u003c/em> and \u003cem>Aja\u003c/em>. \u003c/p>\n\u003cp>Age did not thwart Shorter’s imagination. In his late 60s, he formed a quartet with pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade that pushed the borders of jazz yet again, winning a Grammy Award for Best Instrumental Jazz album in 2005. \u003c/p>\n\u003cp>During 15 years away from the studio, Shorter stayed busy, collaborating with the bassist Esperanza Spalding and performing at numerous tributes, including an 80th birthday celebration that filled the Hollywood Bowl in Los Angeles. At 85, Shorter released the massive undertaking \u003cem>Emanon\u003c/em>, a three-disc set that also won a Grammy Award. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his own spiritual life, Shorter was devoted to Nichiren Buddhism. In 2013, speaking with NPR, Shorter gave advice drawn from the religion: “Put 100 percent into the moment that you’re in, because the present moment is the only time when you can change the past and the future.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wayne Shorter, whose colorful compositional style and searching improvisations on the tenor saxophone altered the direction of jazz, died in Los Angeles on Thursday. He was 89 years old. \u003c/p>\n\u003cp>Known for his time performing in the Miles Davis Quintet, Weather Report and Art Blakey’s Jazz Messengers, Shorter was a commanding presence on stage and on record. But it was his compositions, such as his trademark tune “Footprints,” which pulled jazz into new realms.\u003c/p>\n\u003cp>Born in New Jersey, Shorter began making a noticeable mark on jazz in the 1960s, when he joined Blakey’s group. After the dissolution of Davis’ “first great quintet” with John Coltrane, Shorter joined the enigmatic trumpeter in 1964, the same year he recorded a trio of classic albums — \u003cem>Speak No Evil\u003c/em>, \u003cem>Juju\u003c/em> and \u003cem>Night Dreamer\u003c/em>. \u003c/p>\n\u003cfigure id=\"attachment_13925783\" class=\"wp-caption aligncenter\" style=\"max-width: 599px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg\" alt=\"\" width=\"599\" height=\"600\" class=\"size-full wp-image-13925783\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-382469-1478885640-2377-160x160.jpg 160w\" sizes=\"(max-width: 599px) 100vw, 599px\">\u003cfigcaption class=\"wp-caption-text\">Wayne Shorter’s 1964 album ‘Speak No Evil,’ which featured his first wife, Teruko Nakagami, on the cover. \u003ccite>(Blue Note Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playing alongside Davis, as well as bassist Ron Carter, drummer Tony Williams and pianist Herbie Hancock, Shorter was able to bring his intellectual confidence and philosophical background to jazz’s most high-profile group. \u003c/p>\n\u003cp>This manifested not just in his flowery playing but his writing, with more angular tunes like “E.S.P.,” “Nefertiti,” and “Footprints.” While others left Davis when he went in new directions with early-fusion albums like \u003cem>Bitches Brew\u003c/em>, Shorter stayed on for the ride. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pxb7pNXJvng'\n title='//www.youtube.com/embed/Pxb7pNXJvng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the 1970s, Shorter joined Weather Report, the groundbreaking electric fusion band, with Joe Zawinul and Jaco Pastorius. He also collaborated with rock icons like Joni Mitchell and Steely Dan, playing on recording like \u003cem>Mingus\u003c/em> and \u003cem>Aja\u003c/em>. \u003c/p>\n\u003cp>Age did not thwart Shorter’s imagination. In his late 60s, he formed a quartet with pianist Danilo Perez, bassist John Patitucci and drummer Brian Blade that pushed the borders of jazz yet again, winning a Grammy Award for Best Instrumental Jazz album in 2005. \u003c/p>\n\u003cp>During 15 years away from the studio, Shorter stayed busy, collaborating with the bassist Esperanza Spalding and performing at numerous tributes, including an 80th birthday celebration that filled the Hollywood Bowl in Los Angeles. At 85, Shorter released the massive undertaking \u003cem>Emanon\u003c/em>, a three-disc set that also won a Grammy Award. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his own spiritual life, Shorter was devoted to Nichiren Buddhism. In 2013, speaking with NPR, Shorter gave advice drawn from the religion: “Put 100 percent into the moment that you’re in, because the present moment is the only time when you can change the past and the future.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Sew Images Owner Cecilia Franklin and Her Influence on Bay Area Artists",
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"content": "\u003cp>I am mourning the loss of Cecilia Franklin, the woman who taught me how to sew. Franklin ran Sew Images, a small business on Oakland’s Piedmont Avenue where she taught classes, sold machines and had every sewing knickknack imaginable, including a device that could embroider any patch you wanted. She died on Dec. 3, 2022 at the age of 81.\u003c/p>\n\u003cp>When she taught classes, Franklin told stories: stories about sewing dresses for her daughter, being an accountant at the San Francisco Museum of Modern Art, and the different garments she made for herself throughout her lifetime. Sometimes, she would bring them in to show us. They were always pristine, nicely pressed, sometimes wrapped in dry-cleaner plastic. To me, they were art.\u003c/p>\n\u003cp>Clothing, I learned from Franklin, can never be mass-produced to fit our individual bodies. To find something that fits, we have to sew it ourselves. I picked a complicated jacket pattern to make during her class, to finally have the vintage, neon biking jacket of my dreams. Franklin helped me every step of the way and I learned all the tricks. After the class ended, I would stop by Sew Images once a week on my lunch break to pick up thread, and to show her what I was working on. At the time, I was making a lot of wearable furniture, and she never failed to laugh wholeheartedly at my ridiculous inventions.\u003c/p>\n\u003cfigure id=\"attachment_13925421\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925421\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/CampSewFun2011-scaled.jpg\" alt=\"Older Black woman works with two kids to pin pattern to red fabric\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Franklin teaching kids at Camp Sew Fun at her shop in 2011. \u003ccite>(Courtesy Lisa Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth is, every artist needs a Cecilia Franklin. It takes a lot of courage not only to make art, but to show it to other people. Her influence on my work was pivotal. I know I can’t be the only Bay Area artist who feels this way.\u003c/p>\n\u003cp>\u003ca href=\"https://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a>, an artist and UC Berkeley professor, bought her sewing machine, a $5,000 Bernina, from Franklin. It was a big investment, but Syjuco trusted Franklin’s judgment — for good reason.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Syjuco went on to use the Bernina to make many large-scale pieces, some of which have found homes in museum collections. One of those textile works, \u003cem>The Visible Invisible\u003c/em> (2018), was recently purchased by the de Young Museum in San Francisco. Over the years, their relationship led to conversations about Franklin’s previous job as an accountant at UC Berkeley and her extensive career as a costume designer before opening the store. Syjuco says, as a women of color herself, she loved to see Cecilia running her own business. Syjuco says she also admired Franklin’s “strange sense of humor.”\u003c/p>\n\u003cfigure id=\"attachment_13925424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200.jpg\" alt=\"Left image of three mannequins in period dress made with green fabric, right image of model in puffy multicolored garment\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-768x538.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Stephanie Syjuco, ‘The Visible Invisible,’ 2018; R: Blythe Feeney, ‘Caterpillar Protection Dress,’ 2018. \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local artist \u003ca href=\"https://www.blythefeeney.com/\">Blythe Feeney\u003c/a> also bought their sewing machine from Franklin, and took a class from her to learn how to use it. Feeney says Franklin was incredibly helpful and kind. For a San Francisco Art Institute school project, Feeney was working on a strange pillow dress, which they showed to Franklin with an expectation that she would find it weird. Instead, Franklin loved it. Feeney remembers she was warm, encouraging and enthusiastic. That interaction motivated Feeney to keep making clothes.\u003c/p>\n\u003cp>Franklin was born in Fort Myers, Florida, in 1941. She was the oldest of seven siblings. She learned needlework from her talented mother and maternal grandmother, honing her skills on a 1969 Bernina Record 730 that she purchased new with a down payment and paid off in $50 installments. Her daughter, Alicia (Lisa) Franklin, also learned to sew on this machine, which is still around and in the family today.\u003c/p>\n\u003cfigure id=\"attachment_13925434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Graduation_1981_1200.jpg\" alt=\"Left image of young Black woman wearing pearls and graduation robe, right image of woman in blue blouse smiling in portrait studio\" width=\"1200\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-768x543.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Cecilia Franklin’s graduation photo; R: Franklin in 1981. \u003ccite>(Courtesy Lisa Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Franklin graduated from Newark, New Jersey’s South Side High School in 1958 and attended business school before getting married. In 1963, her family, including her two-year-old daughter, drove across the country in a 1959 green Chevrolet Impala, relocating to the Bay Area.\u003c/p>\n\u003cp>Franklin opened Sew Images in 1991 at its first location on Oakland’s Grand Avenue. Eventually, the business moved to Piedmont Avenue and Franklin became an invaluable member of the Piedmont Avenue Merchants Association. Sew Images remained in business for 31 years, until Franklin’s death.\u003c/p>\n\u003cp>Franklin was known for spreading what her family calls the “gospel and love of sewing.” She was always eager to demonstrate a difficult technique. Her good-natured ribbing of everyone, her take-charge attitude and her bravery are sorely missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After learning of Franklin’s death, I have been thinking about the idea of “focus.” The Latin root of the word means “hearth” — a place of light and warmth, for family gatherings and meals. Today, when we refer to focus, we are describing instead a state of mind — a place we find internally. As someone constantly facing distractions, it would be nice to find focus in my surroundings, rather than expending so much mental effort to attain it. Cecilia Franklin’s Sew Images, with its classes, materials and personal attention was, for me, “focus” in the form of a place.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am mourning the loss of Cecilia Franklin, the woman who taught me how to sew. Franklin ran Sew Images, a small business on Oakland’s Piedmont Avenue where she taught classes, sold machines and had every sewing knickknack imaginable, including a device that could embroider any patch you wanted. She died on Dec. 3, 2022 at the age of 81.\u003c/p>\n\u003cp>When she taught classes, Franklin told stories: stories about sewing dresses for her daughter, being an accountant at the San Francisco Museum of Modern Art, and the different garments she made for herself throughout her lifetime. Sometimes, she would bring them in to show us. They were always pristine, nicely pressed, sometimes wrapped in dry-cleaner plastic. To me, they were art.\u003c/p>\n\u003cp>Clothing, I learned from Franklin, can never be mass-produced to fit our individual bodies. To find something that fits, we have to sew it ourselves. I picked a complicated jacket pattern to make during her class, to finally have the vintage, neon biking jacket of my dreams. Franklin helped me every step of the way and I learned all the tricks. After the class ended, I would stop by Sew Images once a week on my lunch break to pick up thread, and to show her what I was working on. At the time, I was making a lot of wearable furniture, and she never failed to laugh wholeheartedly at my ridiculous inventions.\u003c/p>\n\u003cfigure id=\"attachment_13925421\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925421\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/CampSewFun2011-scaled.jpg\" alt=\"Older Black woman works with two kids to pin pattern to red fabric\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/CampSewFun2011-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Franklin teaching kids at Camp Sew Fun at her shop in 2011. \u003ccite>(Courtesy Lisa Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth is, every artist needs a Cecilia Franklin. It takes a lot of courage not only to make art, but to show it to other people. Her influence on my work was pivotal. I know I can’t be the only Bay Area artist who feels this way.\u003c/p>\n\u003cp>\u003ca href=\"https://www.stephaniesyjuco.com/\">Stephanie Syjuco\u003c/a>, an artist and UC Berkeley professor, bought her sewing machine, a $5,000 Bernina, from Franklin. It was a big investment, but Syjuco trusted Franklin’s judgment — for good reason.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Syjuco went on to use the Bernina to make many large-scale pieces, some of which have found homes in museum collections. One of those textile works, \u003cem>The Visible Invisible\u003c/em> (2018), was recently purchased by the de Young Museum in San Francisco. Over the years, their relationship led to conversations about Franklin’s previous job as an accountant at UC Berkeley and her extensive career as a costume designer before opening the store. Syjuco says, as a women of color herself, she loved to see Cecilia running her own business. Syjuco says she also admired Franklin’s “strange sense of humor.”\u003c/p>\n\u003cfigure id=\"attachment_13925424\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200.jpg\" alt=\"Left image of three mannequins in period dress made with green fabric, right image of model in puffy multicolored garment\" width=\"1200\" height=\"840\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-1020x714.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Stephanie-Syjuco_Blythe-Feeney_1200-768x538.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Stephanie Syjuco, ‘The Visible Invisible,’ 2018; R: Blythe Feeney, ‘Caterpillar Protection Dress,’ 2018. \u003ccite>(Courtesy the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Local artist \u003ca href=\"https://www.blythefeeney.com/\">Blythe Feeney\u003c/a> also bought their sewing machine from Franklin, and took a class from her to learn how to use it. Feeney says Franklin was incredibly helpful and kind. For a San Francisco Art Institute school project, Feeney was working on a strange pillow dress, which they showed to Franklin with an expectation that she would find it weird. Instead, Franklin loved it. Feeney remembers she was warm, encouraging and enthusiastic. That interaction motivated Feeney to keep making clothes.\u003c/p>\n\u003cp>Franklin was born in Fort Myers, Florida, in 1941. She was the oldest of seven siblings. She learned needlework from her talented mother and maternal grandmother, honing her skills on a 1969 Bernina Record 730 that she purchased new with a down payment and paid off in $50 installments. Her daughter, Alicia (Lisa) Franklin, also learned to sew on this machine, which is still around and in the family today.\u003c/p>\n\u003cfigure id=\"attachment_13925434\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Graduation_1981_1200.jpg\" alt=\"Left image of young Black woman wearing pearls and graduation robe, right image of woman in blue blouse smiling in portrait studio\" width=\"1200\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Graduation_1981_1200-768x543.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">L: Cecilia Franklin’s graduation photo; R: Franklin in 1981. \u003ccite>(Courtesy Lisa Franklin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Franklin graduated from Newark, New Jersey’s South Side High School in 1958 and attended business school before getting married. In 1963, her family, including her two-year-old daughter, drove across the country in a 1959 green Chevrolet Impala, relocating to the Bay Area.\u003c/p>\n\u003cp>Franklin opened Sew Images in 1991 at its first location on Oakland’s Grand Avenue. Eventually, the business moved to Piedmont Avenue and Franklin became an invaluable member of the Piedmont Avenue Merchants Association. Sew Images remained in business for 31 years, until Franklin’s death.\u003c/p>\n\u003cp>Franklin was known for spreading what her family calls the “gospel and love of sewing.” She was always eager to demonstrate a difficult technique. Her good-natured ribbing of everyone, her take-charge attitude and her bravery are sorely missed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After learning of Franklin’s death, I have been thinking about the idea of “focus.” The Latin root of the word means “hearth” — a place of light and warmth, for family gatherings and meals. Today, when we refer to focus, we are describing instead a state of mind — a place we find internally. As someone constantly facing distractions, it would be nice to find focus in my surroundings, rather than expending so much mental effort to attain it. Cecilia Franklin’s Sew Images, with its classes, materials and personal attention was, for me, “focus” in the form of a place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Six Must-See Films With Raquel Welch, From ‘Fantastic Voyage’ to ‘Myra Breckinridge’",
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"content": "\u003cp>Raquel Welch, a veteran actress who rose to fame as a sex symbol in the 1960s and 70s, \u003ca href=\"https://www.npr.org/2023/02/15/1157263420/raquel-welch-actress-and-hollywood-sex-symbol-dead-at-82\">died Wednesday in Los Angeles at the age of 82\u003c/a> after a brief illness. The news was confirmed to NPR by her son, Damon.\u003c/p>\n\u003cp>[aside postid='arts_10870518']In a career spanning nearly six decades, Welch started in the 1960s with appearances on TV shows such as \u003cem>The Virginian\u003c/em>, \u003cem>McHale’s Navy\u003c/em> and \u003cem>Bewitched.\u003c/em> These appearances paved the way for back-to-back roles in \u003cem>Fantastic Voyage\u003c/em> and \u003cem>One Million Years B.C.\u003c/em> in 1966.\u003c/p>\n\u003cp>Throughout her career, Welch was a two-time Golden Globe nominee, winning Best Actress in a Motion Picture, Musical or Comedy, for her role in the 1973’s \u003cem>The Three Musketeers\u003c/em> as Constance de Bonacieux, and a star on the Hollywood Walk of Fame.\u003c/p>\n\u003cp>Here’s a look at some of her most notable roles:\u003c/p>\n\u003ch3>\u003cem>1. One Million Years B.C. (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gSYmJur0Npw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ssLVKLJ8ojU&t=1s\u003c/p>\n\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=dO5E4wkg0hA&t=1s\u003c/p>\n\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=lmIeod8jk4k\u003c/p>\n\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ywcr3lYuVo0\u003c/p>\n\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=3IHiUYU4wQ8\u003c/p>\n\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&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>The 1966 film, set during a fictional prehistoric age where cavemen and dinosaurs co-exist in the world, tells the story of prehistoric man Tumak as he is banished from his savage tribe. Welch only had a few lines, but her animal skin two-piece became part of pop culture history.\u003c/p>\n\u003ch3>\u003cem>2. The Three Musketeers (1973)\u003c/em>\u003c/h3>\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/ssLVKLJ8ojU'\n title='//www.youtube.com/embed/ssLVKLJ8ojU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An adaptation of the 1844 Alexandre Dumas novel, the 1973 film tells the story of swordsman D’Artagnan (played by Michael York), after he travels to Paris with the hope of joining the royal guard.\u003c/p>\n\u003cp>Welch plays the role of Constance Bonacieux, who is a dressmaker to the Queen, Anne of Austria.\u003c/p>\n\u003ch3>\u003cem>3. Fantastic Voyage (1966)\u003c/em>\u003c/h3>\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/dO5E4wkg0hA'\n title='//www.youtube.com/embed/dO5E4wkg0hA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This 1960s film follows scientist Jan Benes (Jean Del Val) as he develops a way to shrink humans and other objects for brief periods. Benes is transported by the CIA to America but is unfortunately attacked en route.\u003c/p>\n\u003cp>To save Benes, a submarine is shrunken to microscopic size and injected into his bloodstream with a small crew; as they have a limited time to get out before the miniaturization wears off.\u003c/p>\n\u003ch3>\u003cem>4. 100 Rifles (1969)\u003c/em>\u003c/h3>\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/lmIeod8jk4k'\n title='//www.youtube.com/embed/lmIeod8jk4k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Welch made film history in this 1969 Western, starring alongside African American actor and former professional football player Jim Brown. The movie, set in 1912 in Sonora, Mexico, follows native revolutionary Yaqui Joe (played by Burt Reynolds) as he robs a bank to buy guns for the Yaqui people.\u003c/p>\n\u003cp>However, he finds himself sought by the Mexican Army.\u003c/p>\n\u003cp>Welch — who played the role of Sarita — along with Brown sparked controversy for their sizzling interracial love scenes in the movie.\u003c/p>\n\u003ch3>\u003cem>5. Myra Breckinridge (1970)\u003c/em>\u003c/h3>\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/ywcr3lYuVo0'\n title='//www.youtube.com/embed/ywcr3lYuVo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Gore Vidal’s 1968 satirical novel of the same name, Welch in this film played an aspiring actress who underwent a gender reassignment surgery in Europe, eventually traveling to Hollywood in search of fame and her late wealthy uncle’s estate.\u003c/p>\n\u003ch3>\u003cem>6. How to Be a Latin Lover (2017)\u003c/em>\u003c/h3>\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/3IHiUYU4wQ8'\n title='//www.youtube.com/embed/3IHiUYU4wQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her final film, the 2017 comedy features Welch as widowed billionaire Celeste Birch, who tries to fend off romantic advances from a rusty gigolo, Maximo (Eugenio Derbez), who’s made a career of seducing rich older women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After being dumped by his wealthy 80-year-old wife, Maximo plans to seduce Celeste as he hopes to live the high life once again.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+must-see+films+with+Raquel+Welch%2C+from+%27Fantastic+Voyage%27+to+%27Myra+Breckinridge%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "David Jolicoeur, De La Soul's Trugoy the Dove, Dies at 54",
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"content": "\u003cp>The most formative musical memory of my youth occurred 30,000 feet over central California in the summer of 1989. I was almost 17, flying on a school trip from LA to the Bay Area, and popped into my Walkman was an album I had just picked up from my local record store, Moby Disc: De La Soul’s \u003cem>3 Feet High and Rising.\u003c/em> When the cassette reached “Eye Know,” about midway through Side A, I sat transfixed in my seat. I had never heard anything like this before: an earnest rap song about love that wasn’t a sappy radio ballad (no offense, \u003ca href=\"https://www.youtube.com/watch?v=NEUX-HYRtUA\">LL Cool J\u003c/a>), set to a delicious groove that merged \u003ca href=\"https://www.youtube.com/watch?v=DX4cB_WhBB4\">’60s soul\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=u_pt3khMRFs\">’70s art pop\u003c/a>. Part of me wanted to take my headphones off and share the song with one of my classmates but the part that was selfish won out. When the track ended, I rewound and played it again. And again. And again. “Eye Know” wasn’t the first rap song I ever heard but it was the first that sparked an interest to explore the music and culture behind it. As with many others who discovered hip-hop in that same era, that private epiphany changed my life’s trajectory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q9jCsOCfUUg\u003c/p>\n\u003cp>We learned yesterday that one of the group’s core members — David Jolicoeur, aka Trugoy the Dove, aka Plug Two — has come to the end of his own journey at the age of 54. As of this time, \u003ca href=\"https://apnews.com/article/trugoy-the-dove-dies-obituary-de-la-soul-music-86ebc0545ff2111c7b0fc6e6f491ef78\">no cause of death has been announced\u003c/a>, but in 2017, Jolicoeur revealed that he was\u003ca href=\"https://thesource.com/2017/11/13/de-la-souls-trugoy-reveals-congestive-heart-failure-latest-visual-royalty-capes/\"> suffering from congestive heart problems.\u003c/a> On Feb. 5, when De La Soul was feted as part of \u003ca href=\"https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce\">this year’s Grammy Awards’\u003c/a> celebration of hip-hop’s 50th anniversary, Trugoy was conspicuously absent from the proceedings. \u003c/p>\n\u003cp>Like the rest of the group, including Kelvin “Posdnuos” Mercer, Vincent “P.A. Mase” Mason and their mentor “Prince Paul” Houston, Jolicoeur grew up in the Long Island village of Amityville; all four men met while attending Amityville Memorial High School. Their middle-class, suburban roots were an important part of their difference from most of the hip-hop landscape of the mid- and late-1980s when rap music was still associated with gritty, urban ‘hoods like Compton in Los Angeles or New York’s South Bronx and Queensbridge Projects. \u003c/p>\n\u003cp>The leading MCs who hailed from those areas were mostly brash braggarts with super-sized personalities: Think Big Daddy Kane, Run DMC, LL Cool J or Ice Cube. By comparison, Trugoy and his group-mates looked downright bookish, wearing “\u003ca href=\"https://genius.com/De-la-soul-buddy-lyrics#:~:text=Black%20medallions,%20no%20gold\">black medallions, no gold\u003c/a>,” and possessed of irreverent wit and cutting humor that became the group’s calling card. Dante Ross, who helped manage them after they signed to Tommy Boy Records in 1987, told \u003ca href=\"https://www.penguinrandomhouse.com/books/29811/check-the-technique-by-brian-coleman-introduction-by-ahmir-uestlove-thompson/\">\u003cem>Check the Technique\u003c/em>\u003c/a>\u003cem> \u003c/em>author Brian Coleman in 2007, “when De La Soul came in the game, there was just a changing of the guard. The gold chains and the macho s*** just wasn’t all that anymore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_10144907']Trugoy, in particular, felt like the group’s irrepressible id, the embodiment of De La’s D.A.I.S.Y. (Da Inner Soul Ya’ll) Age ethos of the time with his floppy dreads and gap-tooth smile. Both he and Posdnuos were skillful MCs, but while his rhyming partner possessed a sharp, precise flow and more topical songwriting, there was a care-free charisma to how Trugoy carried himself on mic. Chris “Thes One” Portugal, of the LA rap duo People Under the Stairs, grew up on De La’s music too, and he described Trugoy to me as possessing a “leader of the outsiders vibe,” observing that the “effortless cool of his verses magnified our assumptions of [the group’s] character: laid back and loose.”\u003c/p>\n\u003cp>Over the course of their early albums, beginning with \u003cem>Three Feet High and Rising\u003c/em> and continuing with \u003cem>De La Soul Is Dead\u003c/em> in 1991, \u003cem>Buhloone Mindstate\u003c/em> in 1993 and \u003cem>Stakes Is High \u003c/em>in 1996, De La became avatars for future generations of hip-hop nerds and geeks inspired by the group’s commitment to creativity and cleverness. Brooklyn’s Yasiin Bey (formerly known as Mos Def), who also idolized De La Soul as a teenager, explained to me in 1999: “They weren’t just arbitrarily creative. They were really intense with mad thought and focus. [No one] thought hip hop could be like that.”\u003c/p>\n\u003cp>The group recorded steadily from 1989 through 2001, when they released \u003cem>AOI: Bionix,\u003c/em> the last of their six albums for Tommy Boy. They shifted to an independent model after that and their output slowed considerably, releasing just two albums after 2004, most recently the crowd-funded \u003cem>and the Anonymous Nobody…\u003c/em> in 2016. For all their humor, the group spent decades waging serious battles with the music industry, partly around their\u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\"> sampling practices\u003c/a>, and mostly with Tommy Boy. One\u003ca href=\"https://variety.com/2019/music/news/de-la-souls-digital-album-releases-postponed-by-tommy-boy-records-exclusive-1203152398/\"> legacy of those disagreements with the label\u003c/a> has been the absence of most of their albums from legal streaming services, an unfathomable void in the age of the infinite jukebox. This travesty is\u003ca href=\"https://pitchfork.com/news/de-la-soul-finally-bringing-classic-albums-to-streaming-services-group-confirms/#:~:text=De%20La%20Soul's%20classic,the%20distribution%20wing%20of%20Chrysalis.\"> finally being rectified\u003c/a> on March 3, but it’s a sad, cruel irony that Trugoy should pass away mere days before the indefensibly delayed return of his and De La’s music to the masses. Normally, the death of a beloved musical artist leads people to dive back into their catalogs, sharing favorite songs with others. The basic gestures we normally take for granted are impossible right now because of De La’s absence from common of streaming sites. \u003c/p>\n\u003cp>On the other hand, it also means that the next couple of weeks can serve as a celebration of Trugoy’s life and legacy, culminating on March 3 when so much of De La’s best work will finally be available again. I’ve had the benefit of having their old tapes, CDs and vinyl recordings on hand to revisit all these years but it’s the potential new fans who will benefit the most from De La’s long-delayed digital debut. It’s hard to imagine a more fitting tribute to Trugoy than for a next generation of listeners to sit with his music and potentially have their own life’s trajectories set anew. \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Oliver Wang is a Los Angeles-based culture writer and professor of sociology at CSU Long Beach. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Jolicoeur%2C+De+La+Soul%27s+Trugoy+the+Dove%2C+dies+at+54&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The most formative musical memory of my youth occurred 30,000 feet over central California in the summer of 1989. I was almost 17, flying on a school trip from LA to the Bay Area, and popped into my Walkman was an album I had just picked up from my local record store, Moby Disc: De La Soul’s \u003cem>3 Feet High and Rising.\u003c/em> When the cassette reached “Eye Know,” about midway through Side A, I sat transfixed in my seat. I had never heard anything like this before: an earnest rap song about love that wasn’t a sappy radio ballad (no offense, \u003ca href=\"https://www.youtube.com/watch?v=NEUX-HYRtUA\">LL Cool J\u003c/a>), set to a delicious groove that merged \u003ca href=\"https://www.youtube.com/watch?v=DX4cB_WhBB4\">’60s soul\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=u_pt3khMRFs\">’70s art pop\u003c/a>. Part of me wanted to take my headphones off and share the song with one of my classmates but the part that was selfish won out. When the track ended, I rewound and played it again. And again. And again. “Eye Know” wasn’t the first rap song I ever heard but it was the first that sparked an interest to explore the music and culture behind it. As with many others who discovered hip-hop in that same era, that private epiphany changed my life’s trajectory.\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/q9jCsOCfUUg'\n title='//www.youtube.com/embed/q9jCsOCfUUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learned yesterday that one of the group’s core members — David Jolicoeur, aka Trugoy the Dove, aka Plug Two — has come to the end of his own journey at the age of 54. As of this time, \u003ca href=\"https://apnews.com/article/trugoy-the-dove-dies-obituary-de-la-soul-music-86ebc0545ff2111c7b0fc6e6f491ef78\">no cause of death has been announced\u003c/a>, but in 2017, Jolicoeur revealed that he was\u003ca href=\"https://thesource.com/2017/11/13/de-la-souls-trugoy-reveals-congestive-heart-failure-latest-visual-royalty-capes/\"> suffering from congestive heart problems.\u003c/a> On Feb. 5, when De La Soul was feted as part of \u003ca href=\"https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce\">this year’s Grammy Awards’\u003c/a> celebration of hip-hop’s 50th anniversary, Trugoy was conspicuously absent from the proceedings. \u003c/p>\n\u003cp>Like the rest of the group, including Kelvin “Posdnuos” Mercer, Vincent “P.A. Mase” Mason and their mentor “Prince Paul” Houston, Jolicoeur grew up in the Long Island village of Amityville; all four men met while attending Amityville Memorial High School. Their middle-class, suburban roots were an important part of their difference from most of the hip-hop landscape of the mid- and late-1980s when rap music was still associated with gritty, urban ‘hoods like Compton in Los Angeles or New York’s South Bronx and Queensbridge Projects. \u003c/p>\n\u003cp>The leading MCs who hailed from those areas were mostly brash braggarts with super-sized personalities: Think Big Daddy Kane, Run DMC, LL Cool J or Ice Cube. By comparison, Trugoy and his group-mates looked downright bookish, wearing “\u003ca href=\"https://genius.com/De-la-soul-buddy-lyrics#:~:text=Black%20medallions,%20no%20gold\">black medallions, no gold\u003c/a>,” and possessed of irreverent wit and cutting humor that became the group’s calling card. Dante Ross, who helped manage them after they signed to Tommy Boy Records in 1987, told \u003ca href=\"https://www.penguinrandomhouse.com/books/29811/check-the-technique-by-brian-coleman-introduction-by-ahmir-uestlove-thompson/\">\u003cem>Check the Technique\u003c/em>\u003c/a>\u003cem> \u003c/em>author Brian Coleman in 2007, “when De La Soul came in the game, there was just a changing of the guard. The gold chains and the macho s*** just wasn’t all that anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Trugoy, in particular, felt like the group’s irrepressible id, the embodiment of De La’s D.A.I.S.Y. (Da Inner Soul Ya’ll) Age ethos of the time with his floppy dreads and gap-tooth smile. Both he and Posdnuos were skillful MCs, but while his rhyming partner possessed a sharp, precise flow and more topical songwriting, there was a care-free charisma to how Trugoy carried himself on mic. Chris “Thes One” Portugal, of the LA rap duo People Under the Stairs, grew up on De La’s music too, and he described Trugoy to me as possessing a “leader of the outsiders vibe,” observing that the “effortless cool of his verses magnified our assumptions of [the group’s] character: laid back and loose.”\u003c/p>\n\u003cp>Over the course of their early albums, beginning with \u003cem>Three Feet High and Rising\u003c/em> and continuing with \u003cem>De La Soul Is Dead\u003c/em> in 1991, \u003cem>Buhloone Mindstate\u003c/em> in 1993 and \u003cem>Stakes Is High \u003c/em>in 1996, De La became avatars for future generations of hip-hop nerds and geeks inspired by the group’s commitment to creativity and cleverness. Brooklyn’s Yasiin Bey (formerly known as Mos Def), who also idolized De La Soul as a teenager, explained to me in 1999: “They weren’t just arbitrarily creative. They were really intense with mad thought and focus. [No one] thought hip hop could be like that.”\u003c/p>\n\u003cp>The group recorded steadily from 1989 through 2001, when they released \u003cem>AOI: Bionix,\u003c/em> the last of their six albums for Tommy Boy. They shifted to an independent model after that and their output slowed considerably, releasing just two albums after 2004, most recently the crowd-funded \u003cem>and the Anonymous Nobody…\u003c/em> in 2016. For all their humor, the group spent decades waging serious battles with the music industry, partly around their\u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\"> sampling practices\u003c/a>, and mostly with Tommy Boy. One\u003ca href=\"https://variety.com/2019/music/news/de-la-souls-digital-album-releases-postponed-by-tommy-boy-records-exclusive-1203152398/\"> legacy of those disagreements with the label\u003c/a> has been the absence of most of their albums from legal streaming services, an unfathomable void in the age of the infinite jukebox. This travesty is\u003ca href=\"https://pitchfork.com/news/de-la-soul-finally-bringing-classic-albums-to-streaming-services-group-confirms/#:~:text=De%20La%20Soul's%20classic,the%20distribution%20wing%20of%20Chrysalis.\"> finally being rectified\u003c/a> on March 3, but it’s a sad, cruel irony that Trugoy should pass away mere days before the indefensibly delayed return of his and De La’s music to the masses. Normally, the death of a beloved musical artist leads people to dive back into their catalogs, sharing favorite songs with others. The basic gestures we normally take for granted are impossible right now because of De La’s absence from common of streaming sites. \u003c/p>\n\u003cp>On the other hand, it also means that the next couple of weeks can serve as a celebration of Trugoy’s life and legacy, culminating on March 3 when so much of De La’s best work will finally be available again. I’ve had the benefit of having their old tapes, CDs and vinyl recordings on hand to revisit all these years but it’s the potential new fans who will benefit the most from De La’s long-delayed digital debut. It’s hard to imagine a more fitting tribute to Trugoy than for a next generation of listeners to sit with his music and potentially have their own life’s trajectories set anew. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Oliver Wang is a Los Angeles-based culture writer and professor of sociology at CSU Long Beach. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Jolicoeur%2C+De+La+Soul%27s+Trugoy+the+Dove%2C+dies+at+54&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Burt Bacharach, Legendary Composer of Pop Songs, Dies at 94",
"headTitle": "Burt Bacharach, Legendary Composer of Pop Songs, Dies at 94 | KQED",
"content": "\u003cp>Burt Bacharach, the singularly gifted and popular composer and Oscar winner who delighted millions with the quirky arrangements and unforgettable melodies of “Walk on By,” “Do You Know the Way to San Jose” and dozens of other hits, has died at 94.\u003c/p>\n\u003cp>Bacharach died Wednesday at home in Los Angeles of natural causes, publicist Tina Brausam said Thursday.\u003c/p>\n\u003cp>Over the past 70 years, only Lennon-McCartney, Carole King and a handful of others rivaled his genius for instantly catchy songs that remained performed, played and hummed long after they were written. He had a run of top 10 hits from the 1950s into the 21st century, and his music was heard everywhere from movie soundtracks and radios to home stereo systems and iPods, whether “Alfie” and “I Say a Little Prayer” or “I’ll Never Fall in Love Again” and “This Guy’s in Love with You.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Ifw8JhDBvs\u003c/p>\n\u003cp>Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.\u003c/p>\n\u003cp>“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”\u003c/p>\n\u003cp>He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning Broadway composer for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won Oscars for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”\u003c/p>\n\u003cp>Bacharach was well rewarded, and well connected. He was a frequent guest at the White House, whether the president was Republican or Democrat. And in 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of “Walk on By” during a campaign appearance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qo8nLMCLT60\u003c/p>\n\u003cp>In his life, and in his music, he stood apart. Fellow songwriter Sammy Cahn liked to joke that the smiling, wavy-haired Bacharach was the first composer he ever knew who didn’t look like a dentist. Bacharach was a “swinger,” as they called such men in his time, whose many romances included actor Angie Dickinson, to whom he was married from 1965-80, and Sager, his wife from 1982-1991.\u003c/p>\n\u003cp>Married four times, he formed his most lasting ties to work. He was a perfectionist who took three weeks to write “Alfie” and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same — only the wives changed.\u003c/p>\n\u003cp>It began with the melodies — strong yet interspersed with changing rhythms and surprising harmonics. He credited much of his style to his love of bebop and to his classical education, especially under the tutelage of Darius Milhaud, the famed composer. He once played a piece for piano, violin and oboe for Milhaud that contained a melody he was ashamed to have written, as 12-point atonal music was in vogue at the time. Milhaud, who liked the piece, advised the young man, “Never be afraid of the melody.”\u003c/p>\n\u003cp>“That was a great affirmation for me,” Bacharach recalled in 2004.\u003c/p>\n\u003cp>Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul (Franklin, Luther Vandross) and synth-pop (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others. Mike Myers would recall hearing the sultry “The Look of Love” on the radio and finding fast inspiration for his “Austin Powers” retro spy comedies, in which Bacharach made cameos.\u003c/p>\n\u003cp>In the 21st century, he was still testing new ground, writing his own lyrics and recording with rapper Dr. Dre.\u003c/p>\n\u003cp>He was married to his first wife, Paula Stewart, from 1953-58, and married for a fourth time, to Jane Hansen, in 1993. He is survived by Hansen, as well as his children Oliver, Raleigh and Cristopher, Brausam said. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2UpwpTAd8U\u003c/p>\n\u003cp>Bacharach knew the very heights of acclaim, but he remembered himself as a loner growing up, a short and self-conscious boy so uncomfortable with being Jewish he even taunted other Jews. His favorite book as a kid was Ernest Hemingway’s “The Sun Also Rises”; he related to the sexually impotent Jake Barnes, regarding himself as “socially impotent.”\u003c/p>\n\u003cp>He was born in Kansas City, Missouri, but soon moved to New York City. His father was a syndicated columnist, his mother a pianist who encouraged the boy to study music. Although he was more interested in sports, he practiced piano every day after school, not wanting to disappoint his mother. While still a minor, he would sneak into jazz clubs, bearing a fake ID, and hear such greats as Dizzy Gillespie and Count Basie.\u003c/p>\n\u003cp>“They were just so incredibly exciting that all of a sudden, I got into music in a way I never had before,” he recalled in the memoir “Anyone Who Had a Heart,” published in 2013. “What I heard in those clubs turned my head around.”\u003c/p>\n\u003cp>He was a poor student in high school, but managed to gain a spot at the music conservatory at McGill University in Montreal. He wrote his first song at McGill and listened for months to Mel Torme’s “The Christmas Song.” Music also may have saved Bacharach’s life. He was drafted into the Army in the late 1940s and was still on active duty during the Korean War. But officers stateside soon learned of his gifts and wanted him around. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation center on the local military base.\u003c/p>\n\u003cp>After his discharge, he returned to New York and tried to break into the music business. He had little success at first as a songwriter, but he became a popular arranger and accompanist, touring with Vic Damone, the Ames Brothers and Polly Stewart, who became his first wife. When a friend who had been touring with Marlene Dietrich was unable to make a show in Las Vegas, he asked Bacharach to step in.\u003c/p>\n\u003cp>The young musician and ageless singer quickly clicked and Bacharach traveled the world with her in the late ‘50s and early ‘60s. During each performance, she would introduce him in grand style: “I would like you to meet the man, he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer. But that isn’t true. He’s everybody’s composer … Burt Bacharach!”\u003c/p>\n\u003cp>Meanwhile, he had met his ideal songwriter partner — David, as businesslike as Bacharach was mercurial, so domesticated that he would leave each night at 5 to catch the train back to his wife and children on Long Island. Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, “Magic Moments,” sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance,” Bacharach recalled.\u003c/p>\n\u003cp>The trio produced hit after hit, starting with “Don’t Make Me Over” and continuing with “Walk on By,” “I Say a Little Prayer,” “Do You Know the Way to San Jose,” “Trains and Boats and Planes,” “Anyone Who Had a Heart” and more. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on “Walk on By,” their performances just slightly out of synch to give the song “a jagged kind of feeling,” he wrote in his memoir.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XieZAjBTkr4\u003c/p>\n\u003cp>Besides Warwick, the Bacharach-David team was producing winners for other performers. Among them: “Make It Easy on Yourself” for Jerry Butler, “What the World Needs Now Is Love” for Jackie DeShannon and “This Guy’s in Love with You” for Herb Alpert.\u003c/p>\n\u003cp>The partnership ended badly with the dismal failure of a 1973 musical remake of “Lost Horizon.” Bacharach became so depressed he isolated himself in his Del Mar vacation home and refused to work.\u003c/p>\n\u003cp>“I didn’t want to write with Hal or anybody,” he told the AP in 2004. Nor did he want to fulfill a commitment to record Warwick. She and David both sued him.\u003c/p>\n\u003cp>Bacharach and David eventually reconciled. When David died in 2012, Bacharach praised him for writing lyrics “like a miniature movie.” Meanwhile, he kept working, vowing never to retire, always believing that a good song could make a difference.\u003c/p>\n\u003cp>“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The late Associated Press writer Bob Thomas was a contributor to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The man behind \"Walk on By,\" \"Do You Know the Way to San Jose\" and dozens of other hits died at his home in Los Angeles.",
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"description": "The man behind "Walk on By," "Do You Know the Way to San Jose" and dozens of other hits died at his home in Los Angeles.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Burt Bacharach, the singularly gifted and popular composer and Oscar winner who delighted millions with the quirky arrangements and unforgettable melodies of “Walk on By,” “Do You Know the Way to San Jose” and dozens of other hits, has died at 94.\u003c/p>\n\u003cp>Bacharach died Wednesday at home in Los Angeles of natural causes, publicist Tina Brausam said Thursday.\u003c/p>\n\u003cp>Over the past 70 years, only Lennon-McCartney, Carole King and a handful of others rivaled his genius for instantly catchy songs that remained performed, played and hummed long after they were written. He had a run of top 10 hits from the 1950s into the 21st century, and his music was heard everywhere from movie soundtracks and radios to home stereo systems and iPods, whether “Alfie” and “I Say a Little Prayer” or “I’ll Never Fall in Love Again” and “This Guy’s in Love with You.”\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/7Ifw8JhDBvs'\n title='//www.youtube.com/embed/7Ifw8JhDBvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.\u003c/p>\n\u003cp>“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”\u003c/p>\n\u003cp>He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning Broadway composer for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won Oscars for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”\u003c/p>\n\u003cp>Bacharach was well rewarded, and well connected. He was a frequent guest at the White House, whether the president was Republican or Democrat. And in 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of “Walk on By” during a campaign appearance.\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/qo8nLMCLT60'\n title='//www.youtube.com/embed/qo8nLMCLT60'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his life, and in his music, he stood apart. Fellow songwriter Sammy Cahn liked to joke that the smiling, wavy-haired Bacharach was the first composer he ever knew who didn’t look like a dentist. Bacharach was a “swinger,” as they called such men in his time, whose many romances included actor Angie Dickinson, to whom he was married from 1965-80, and Sager, his wife from 1982-1991.\u003c/p>\n\u003cp>Married four times, he formed his most lasting ties to work. He was a perfectionist who took three weeks to write “Alfie” and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same — only the wives changed.\u003c/p>\n\u003cp>It began with the melodies — strong yet interspersed with changing rhythms and surprising harmonics. He credited much of his style to his love of bebop and to his classical education, especially under the tutelage of Darius Milhaud, the famed composer. He once played a piece for piano, violin and oboe for Milhaud that contained a melody he was ashamed to have written, as 12-point atonal music was in vogue at the time. Milhaud, who liked the piece, advised the young man, “Never be afraid of the melody.”\u003c/p>\n\u003cp>“That was a great affirmation for me,” Bacharach recalled in 2004.\u003c/p>\n\u003cp>Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul (Franklin, Luther Vandross) and synth-pop (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others. Mike Myers would recall hearing the sultry “The Look of Love” on the radio and finding fast inspiration for his “Austin Powers” retro spy comedies, in which Bacharach made cameos.\u003c/p>\n\u003cp>In the 21st century, he was still testing new ground, writing his own lyrics and recording with rapper Dr. Dre.\u003c/p>\n\u003cp>He was married to his first wife, Paula Stewart, from 1953-58, and married for a fourth time, to Jane Hansen, in 1993. He is survived by Hansen, as well as his children Oliver, Raleigh and Cristopher, Brausam said. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.\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/-2UpwpTAd8U'\n title='//www.youtube.com/embed/-2UpwpTAd8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bacharach knew the very heights of acclaim, but he remembered himself as a loner growing up, a short and self-conscious boy so uncomfortable with being Jewish he even taunted other Jews. His favorite book as a kid was Ernest Hemingway’s “The Sun Also Rises”; he related to the sexually impotent Jake Barnes, regarding himself as “socially impotent.”\u003c/p>\n\u003cp>He was born in Kansas City, Missouri, but soon moved to New York City. His father was a syndicated columnist, his mother a pianist who encouraged the boy to study music. Although he was more interested in sports, he practiced piano every day after school, not wanting to disappoint his mother. While still a minor, he would sneak into jazz clubs, bearing a fake ID, and hear such greats as Dizzy Gillespie and Count Basie.\u003c/p>\n\u003cp>“They were just so incredibly exciting that all of a sudden, I got into music in a way I never had before,” he recalled in the memoir “Anyone Who Had a Heart,” published in 2013. “What I heard in those clubs turned my head around.”\u003c/p>\n\u003cp>He was a poor student in high school, but managed to gain a spot at the music conservatory at McGill University in Montreal. He wrote his first song at McGill and listened for months to Mel Torme’s “The Christmas Song.” Music also may have saved Bacharach’s life. He was drafted into the Army in the late 1940s and was still on active duty during the Korean War. But officers stateside soon learned of his gifts and wanted him around. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation center on the local military base.\u003c/p>\n\u003cp>After his discharge, he returned to New York and tried to break into the music business. He had little success at first as a songwriter, but he became a popular arranger and accompanist, touring with Vic Damone, the Ames Brothers and Polly Stewart, who became his first wife. When a friend who had been touring with Marlene Dietrich was unable to make a show in Las Vegas, he asked Bacharach to step in.\u003c/p>\n\u003cp>The young musician and ageless singer quickly clicked and Bacharach traveled the world with her in the late ‘50s and early ‘60s. During each performance, she would introduce him in grand style: “I would like you to meet the man, he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer. But that isn’t true. He’s everybody’s composer … Burt Bacharach!”\u003c/p>\n\u003cp>Meanwhile, he had met his ideal songwriter partner — David, as businesslike as Bacharach was mercurial, so domesticated that he would leave each night at 5 to catch the train back to his wife and children on Long Island. Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, “Magic Moments,” sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance,” Bacharach recalled.\u003c/p>\n\u003cp>The trio produced hit after hit, starting with “Don’t Make Me Over” and continuing with “Walk on By,” “I Say a Little Prayer,” “Do You Know the Way to San Jose,” “Trains and Boats and Planes,” “Anyone Who Had a Heart” and more. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on “Walk on By,” their performances just slightly out of synch to give the song “a jagged kind of feeling,” he wrote in his memoir.\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/XieZAjBTkr4'\n title='//www.youtube.com/embed/XieZAjBTkr4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Besides Warwick, the Bacharach-David team was producing winners for other performers. Among them: “Make It Easy on Yourself” for Jerry Butler, “What the World Needs Now Is Love” for Jackie DeShannon and “This Guy’s in Love with You” for Herb Alpert.\u003c/p>\n\u003cp>The partnership ended badly with the dismal failure of a 1973 musical remake of “Lost Horizon.” Bacharach became so depressed he isolated himself in his Del Mar vacation home and refused to work.\u003c/p>\n\u003cp>“I didn’t want to write with Hal or anybody,” he told the AP in 2004. Nor did he want to fulfill a commitment to record Warwick. She and David both sued him.\u003c/p>\n\u003cp>Bacharach and David eventually reconciled. When David died in 2012, Bacharach praised him for writing lyrics “like a miniature movie.” Meanwhile, he kept working, vowing never to retire, always believing that a good song could make a difference.\u003c/p>\n\u003cp>“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "crosby-stills-nash-co-founder-david-crosby-has-died-at-81",
"title": "Crosby, Stills & Nash Co-Founder David Crosby Has Died at 81",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15396847/david-crosby\">David Crosby\u003c/a>, a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>, has died at 81. His publicist Michael Jensen confirmed the artist’s death to NPR; no cause of death was given.\u003c/p>\n\u003cp>Crosby had long dealt with serious health problems, including multiple heart attacks, diabetes and hepatitis C, for which he had a liver transplant in 1994. In spite of those challenges, the veteran musician enjoyed a creative hot streak in recent years. He added five solo albums to his catalog between 2014 and 2021, and toured frequently with two sets of collaborators, the Lighthouse Band (which featured \u003ca href=\"https://www.npr.org/artists/474878869/snarky-puppy\">Snarky Puppy\u003c/a> bandleader Michael League) and the Sky Trails Band, featuring his son, James Raymond, on keyboards.\u003c/p>\n\u003cp>Crosby’s focus on touring stretched all the way back to his early professional days, when he was a nomadic folk musician honing his performance skills on the road. In the late 1950s, Crosby started performing at coffeehouses in Santa Barbara, Calif., but soon began traveling around the U.S., popping up in southern Florida, Chicago and Boulder, Colo. Crosby also spent a formative period in Greenwich Village, where he teamed up to play at the then-new Bitter End with Chicago musician Terry Callier.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His long and successful solo career notwithstanding, Crosby thrived on collaboration — a trait he discovered as a young child, after being mesmerized by a symphony orchestra performance. “The idea of cooperative effort to make something bigger than any one person could ever do was stuck in my head,” he wrote in his 1988 autobiography, \u003cem>Long Time Gone\u003c/em>. “That’s why I love being a harmony singer, why I love being in a group.”\u003c/p>\n\u003cp>Crosby’s first big successes came as a founding member of expansive California country-folk troupe The Byrds. The group hit its commercial peak during his tenure, earning two No. 1 singles — covers of \u003ca href=\"https://www.npr.org/artists/15869924/pete-seeger\">Pete Seeger\u003c/a>’s “Turn! Turn! Turn!” and \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>’s ‘Mr. Tambourine Man’ — and reaching the Top 20 with the stormy classic “Eight Miles High.” Crosby co-wrote the latter, and penned several other memorable Byrds songs, including the lilting, jangly “Lady Friend.” He was instrumental in helping the group develop its harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk, and has taken credit for introducing bandmate \u003ca href=\"https://www.npr.org/artists/16269974/roger-mcguinn\">Roger McGuinn\u003c/a> to the music of \u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> and \u003ca href=\"https://www.npr.org/artists/17093771/ravi-shankar\">Ravi Shankar\u003c/a>.\u003c/p>\n\u003cp>In 1967, Crosby was fired from the Byrds over growing personality and creative conflicts (although he later returned to produce and perform on 1973’s \u003cem>Byrds\u003c/em>). At loose ends, he immersed himself in sailing, one of his childhood passions, buying a schooner for $25,000 with money borrowed from The Monkees’ Peter Tork. The boat would be a source of solace and inspiration for decades; he wrote songs including “Wooden Ships,” “The Lee Shore” and “Page 43” while on board.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-ZZYXlJ8-k0\u003c/p>\n\u003cp>Crosby was born on Aug. 14, 1941, and grew up in Southern California. His father was cinematographer Floyd Crosby, who won an Academy Award for his work on 1931’s \u003cem>Tabu: A Story of the South Seas\u003c/em>, as well as a Golden Globe for cinematography for 1952’s \u003cem>High Noon\u003c/em>. (Crosby himself influenced another notable corner of Hollywood: He often \u003ca href=\"https://twitter.com/thedavidcrosby/status/1018631062279221248\">said\u003c/a> that Dennis Hopper took inspiration from his look and attitude for 1969’s \u003cem>Easy Rider\u003c/em>.)\u003c/p>\n\u003cp>As a kid, Crosby fell hard for \u003ca href=\"https://www.npr.org/artists/15181907/the-everly-brothers\">The Everly Brothers\u003c/a>, the genesis of his lifelong fascination with close harmony, further cemented by his family’s regular sing-along sessions. His older brother, Ethan, introduced him to jazz, a genre he would touch on throughout his career, including with his late ‘90s/early ‘00s band CPR and on a ruminative 2017 solo album, \u003cem>Sky Trails.\u003c/em>\u003c/p>\n\u003cp>Crosby’s formative influences became more prominent in his partnership with \u003ca href=\"https://www.npr.org/artists/15399328/stephen-stills\">Stephen Stills\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15412309/graham-nash\">Graham Nash\u003c/a>, with whom he explored novel ways of expressing harmony. In \u003cem>Long Time Gone\u003c/em>, Crosby deconstructs the group’s unique vocal approach with typical concision, noting the group sang “nonparallel stuff” influenced by classical music, late ‘50s and early ‘60s jazz and the Everlys. “I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening,” he wrote.\u003c/p>\n\u003cp>Crosby’s ocean-clear tenor meshed seamlessly with the voices of Stills and Nash in hushed and haunting ways, particularly on his own “Guinnevere.” His songwriting contributions pushed the band in new directions — in particular, the rhythmic cadences of “Déjà Vu” and the loose arrangements and boho instrumental tone of “Wooden Ships.”\u003c/p>\n\u003cp>As a trio, Crosby, Stills and Nash was both commercially and critically adored. Its self-titled 1969 debut led to an performance at Woodstock and Grammy for best new artist, while 1970’s \u003cem>Déjà Vu \u003c/em>— by which point Neil Young had joined, adding another letter to the band’s name — touched on both the comforts of tradition and the seismic generational shifts that were underway. Months after \u003cem>Déjà Vu\u003c/em>‘s release, CSNY would become a leading voice of the nation’s anti-war movement, recording the Young-penned “Ohio” in response to the May 1970 shooting of four students at Kent State University. His 1971 solo album, \u003cem>If I Could Only Remember My Name\u003c/em>, a sprawling psych-folk touchstone offering studio intricacy and experimental gambits, further illuminated his off-the-beaten-path outlook.\u003c/p>\n\u003cfigure id=\"attachment_13923886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg\" alt=\"a four-piece band of white men with long hair record music in a studio in the 1970s\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Crosby, Stills, Nash & Young recording in 1970. \u003ccite>(RB/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Crosby — who was inducted into the Rock & Roll Hall of Fame twice, as a member of the Byrds and CSN — continued performing with various collaborators, with Graham Nash serving as his steadiest foil well into the mid-2010s. Ever opinionated and brutally honest, he was an open book about his personal flaws and failings, as well as how he felt about his peers. This no-nonsense personality made him both endearing and prickly, especially as a bandmate — CSNY’s internal conflicts and disagreements were legendary.\u003c/p>\n\u003cp>But also, much later and perhaps surprisingly, it made him a natural for the concise and quippy nature of Twitter. Crosby shared wide-ranging thoughts about politics and music on the site, and answered fan questions, both about his own career (he told one fan he “was not the right guy for the job” to when asked whether it was true that he was supposed to have worked on Leonard Cohen’s second album) and about those in his orbit (“Was Jerry Garcia a tenor?”\u003ca href=\"https://twitter.com/thedavidcrosby/status/961950937051877376\"> Answer\u003c/a>: “Tenor/baritone.”). Such lovable terseness even landed him \u003ca href=\"https://www.rollingstone.com/t/ask-croz/\">an advice column\u003c/a> in \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>Crosby’s career was marked by countless reinventions and second chances. Years of well-documented substance abuse led to tumultuous relationships in and out of music, multiple arrests and even a nine-month stint in a Texas prison in the ‘80s. Remarkably, his voice remained strong and unweathered, a fact Crosby himself found inexplicable, as he explained to Cameron Crowe in the 2019 documentary \u003cem>David Crosby: Remember My Name\u003c/em>. Yet the film also reflected plenty of humility, portraying a musician facing his mortality by trying not to dwell on the past.\u003c/p>\n\u003cp>“I’ve hurt a lot of people,” \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/18/remember-my-name-david-crosby\">Crosby told \u003cem>Here & Now\u003c/em>\u003c/a>, the midday news show from NPR and WBUR, in 2019. “I’ve helped a lot more. I just have to be able to look at it and understand it and learn from it. I’m not beating myself up about any of it. Truthfully, I’m actually pretty happy with the guy I am now. I’m trying real hard to be a decent human being. And I like it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crosby%2C+Stills+%26+Nash+co-founder+David+Crosby+has+died+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15396847/david-crosby\">David Crosby\u003c/a>, a prominent figure of the free-spirited 1970s Laurel Canyon scene who helped bring folk-rock mainstream with both \u003ca href=\"https://www.npr.org/artists/15786738/the-byrds\">The Byrds\u003c/a> and \u003ca href=\"https://www.npr.org/artists/104401754/crosby-stills-nash\">Crosby, Stills & Nash\u003c/a>, has died at 81. His publicist Michael Jensen confirmed the artist’s death to NPR; no cause of death was given.\u003c/p>\n\u003cp>Crosby had long dealt with serious health problems, including multiple heart attacks, diabetes and hepatitis C, for which he had a liver transplant in 1994. In spite of those challenges, the veteran musician enjoyed a creative hot streak in recent years. He added five solo albums to his catalog between 2014 and 2021, and toured frequently with two sets of collaborators, the Lighthouse Band (which featured \u003ca href=\"https://www.npr.org/artists/474878869/snarky-puppy\">Snarky Puppy\u003c/a> bandleader Michael League) and the Sky Trails Band, featuring his son, James Raymond, on keyboards.\u003c/p>\n\u003cp>Crosby’s focus on touring stretched all the way back to his early professional days, when he was a nomadic folk musician honing his performance skills on the road. In the late 1950s, Crosby started performing at coffeehouses in Santa Barbara, Calif., but soon began traveling around the U.S., popping up in southern Florida, Chicago and Boulder, Colo. Crosby also spent a formative period in Greenwich Village, where he teamed up to play at the then-new Bitter End with Chicago musician Terry Callier.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His long and successful solo career notwithstanding, Crosby thrived on collaboration — a trait he discovered as a young child, after being mesmerized by a symphony orchestra performance. “The idea of cooperative effort to make something bigger than any one person could ever do was stuck in my head,” he wrote in his 1988 autobiography, \u003cem>Long Time Gone\u003c/em>. “That’s why I love being a harmony singer, why I love being in a group.”\u003c/p>\n\u003cp>Crosby’s first big successes came as a founding member of expansive California country-folk troupe The Byrds. The group hit its commercial peak during his tenure, earning two No. 1 singles — covers of \u003ca href=\"https://www.npr.org/artists/15869924/pete-seeger\">Pete Seeger\u003c/a>’s “Turn! Turn! Turn!” and \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a>’s ‘Mr. Tambourine Man’ — and reaching the Top 20 with the stormy classic “Eight Miles High.” Crosby co-wrote the latter, and penned several other memorable Byrds songs, including the lilting, jangly “Lady Friend.” He was instrumental in helping the group develop its harmony-rich vocal approach and kaleidoscopic sound, which incorporated psychedelic rock, jazz and twangy folk, and has taken credit for introducing bandmate \u003ca href=\"https://www.npr.org/artists/16269974/roger-mcguinn\">Roger McGuinn\u003c/a> to the music of \u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> and \u003ca href=\"https://www.npr.org/artists/17093771/ravi-shankar\">Ravi Shankar\u003c/a>.\u003c/p>\n\u003cp>In 1967, Crosby was fired from the Byrds over growing personality and creative conflicts (although he later returned to produce and perform on 1973’s \u003cem>Byrds\u003c/em>). At loose ends, he immersed himself in sailing, one of his childhood passions, buying a schooner for $25,000 with money borrowed from The Monkees’ Peter Tork. The boat would be a source of solace and inspiration for decades; he wrote songs including “Wooden Ships,” “The Lee Shore” and “Page 43” while on board.\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/-ZZYXlJ8-k0'\n title='//www.youtube.com/embed/-ZZYXlJ8-k0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Crosby was born on Aug. 14, 1941, and grew up in Southern California. His father was cinematographer Floyd Crosby, who won an Academy Award for his work on 1931’s \u003cem>Tabu: A Story of the South Seas\u003c/em>, as well as a Golden Globe for cinematography for 1952’s \u003cem>High Noon\u003c/em>. (Crosby himself influenced another notable corner of Hollywood: He often \u003ca href=\"https://twitter.com/thedavidcrosby/status/1018631062279221248\">said\u003c/a> that Dennis Hopper took inspiration from his look and attitude for 1969’s \u003cem>Easy Rider\u003c/em>.)\u003c/p>\n\u003cp>As a kid, Crosby fell hard for \u003ca href=\"https://www.npr.org/artists/15181907/the-everly-brothers\">The Everly Brothers\u003c/a>, the genesis of his lifelong fascination with close harmony, further cemented by his family’s regular sing-along sessions. His older brother, Ethan, introduced him to jazz, a genre he would touch on throughout his career, including with his late ‘90s/early ‘00s band CPR and on a ruminative 2017 solo album, \u003cem>Sky Trails.\u003c/em>\u003c/p>\n\u003cp>Crosby’s formative influences became more prominent in his partnership with \u003ca href=\"https://www.npr.org/artists/15399328/stephen-stills\">Stephen Stills\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15412309/graham-nash\">Graham Nash\u003c/a>, with whom he explored novel ways of expressing harmony. In \u003cem>Long Time Gone\u003c/em>, Crosby deconstructs the group’s unique vocal approach with typical concision, noting the group sang “nonparallel stuff” influenced by classical music, late ‘50s and early ‘60s jazz and the Everlys. “I did some of my very best work being subtle, moving the middle part around in internal shifts that kept it happening,” he wrote.\u003c/p>\n\u003cp>Crosby’s ocean-clear tenor meshed seamlessly with the voices of Stills and Nash in hushed and haunting ways, particularly on his own “Guinnevere.” His songwriting contributions pushed the band in new directions — in particular, the rhythmic cadences of “Déjà Vu” and the loose arrangements and boho instrumental tone of “Wooden Ships.”\u003c/p>\n\u003cp>As a trio, Crosby, Stills and Nash was both commercially and critically adored. Its self-titled 1969 debut led to an performance at Woodstock and Grammy for best new artist, while 1970’s \u003cem>Déjà Vu \u003c/em>— by which point Neil Young had joined, adding another letter to the band’s name — touched on both the comforts of tradition and the seismic generational shifts that were underway. Months after \u003cem>Déjà Vu\u003c/em>‘s release, CSNY would become a leading voice of the nation’s anti-war movement, recording the Young-penned “Ohio” in response to the May 1970 shooting of four students at Kent State University. His 1971 solo album, \u003cem>If I Could Only Remember My Name\u003c/em>, a sprawling psych-folk touchstone offering studio intricacy and experimental gambits, further illuminated his off-the-beaten-path outlook.\u003c/p>\n\u003cfigure id=\"attachment_13923886\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923886\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg\" alt=\"a four-piece band of white men with long hair record music in a studio in the 1970s\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/gettyimages-84998940-518b363ab923d686c2a7d69e650a00333f4f641a-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Crosby, Stills, Nash & Young recording in 1970. \u003ccite>(RB/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the years, Crosby — who was inducted into the Rock & Roll Hall of Fame twice, as a member of the Byrds and CSN — continued performing with various collaborators, with Graham Nash serving as his steadiest foil well into the mid-2010s. Ever opinionated and brutally honest, he was an open book about his personal flaws and failings, as well as how he felt about his peers. This no-nonsense personality made him both endearing and prickly, especially as a bandmate — CSNY’s internal conflicts and disagreements were legendary.\u003c/p>\n\u003cp>But also, much later and perhaps surprisingly, it made him a natural for the concise and quippy nature of Twitter. Crosby shared wide-ranging thoughts about politics and music on the site, and answered fan questions, both about his own career (he told one fan he “was not the right guy for the job” to when asked whether it was true that he was supposed to have worked on Leonard Cohen’s second album) and about those in his orbit (“Was Jerry Garcia a tenor?”\u003ca href=\"https://twitter.com/thedavidcrosby/status/961950937051877376\"> Answer\u003c/a>: “Tenor/baritone.”). Such lovable terseness even landed him \u003ca href=\"https://www.rollingstone.com/t/ask-croz/\">an advice column\u003c/a> in \u003cem>Rolling Stone\u003c/em>.\u003c/p>\n\u003cp>Crosby’s career was marked by countless reinventions and second chances. Years of well-documented substance abuse led to tumultuous relationships in and out of music, multiple arrests and even a nine-month stint in a Texas prison in the ‘80s. Remarkably, his voice remained strong and unweathered, a fact Crosby himself found inexplicable, as he explained to Cameron Crowe in the 2019 documentary \u003cem>David Crosby: Remember My Name\u003c/em>. Yet the film also reflected plenty of humility, portraying a musician facing his mortality by trying not to dwell on the past.\u003c/p>\n\u003cp>“I’ve hurt a lot of people,” \u003ca href=\"https://www.wbur.org/hereandnow/2019/07/18/remember-my-name-david-crosby\">Crosby told \u003cem>Here & Now\u003c/em>\u003c/a>, the midday news show from NPR and WBUR, in 2019. “I’ve helped a lot more. I just have to be able to look at it and understand it and learn from it. I’m not beating myself up about any of it. Truthfully, I’m actually pretty happy with the guy I am now. I’m trying real hard to be a decent human being. And I like it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Crosby%2C+Stills+%26+Nash+co-founder+David+Crosby+has+died+at+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"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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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"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",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"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": {
"site": "radio",
"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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